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sth Tere att : eh : het ite : ins $41 ; a beh ee Hr piohriet "i bho he Ht rt. pebepstereiehpiereterere go3oe nt betede bes ron 
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=CENT PICTURE SALES. 
4 Cottier-Inglis Sale. 


First Session, 9-7/7 
sr-color by Mauve, “Returning 
asture,” brought one of the best 
it the first evening’s sale of the 
ings of Cottier & Co., “sold to facili- 
settlement of the estate of the late, 
ies S. Inglis,” at Mendelssohn Hall, 
arch 11. It went for $1,275, through 
o Burnet, agent. , 
‘The good names in the collection, 
upre, Rousseau, Berne-Bellecour, etc., 
+d not sufficiently interesting exam- 
ves to bring high prices. The well- 
nown large Corot, “Dante and Vir- 
il,” brought the highest price of the 
ening, $2,200, going to John Keresey. 
Uhe pictures brought $15,205. 

_ Potteries and porcelains of the same 
+state sold at the afternoon sale, at No. 6 
=. 23d Street, brought $5,971. 

4 Second Session. 

» Better and larger prices were ob- 
tained at the second and final session of 
the sale of paintings of the late James 
5. Inglis, March 12. Fifty-eight pictures 
were sold for $70,345, which made a to- 
al of $102,270 realized from the disper- 
‘sal of the artistic property of the col- 
‘lector, including furniture and rugs, 
which had been sold in the association’s 
‘galleries in the afternoon for $11,283. 

| The highest price, $9,200, was paid 
for a portrait of Donna Giovannina Che- 
_vara and her son, by Bronzino. C. E. 
Graham, after keen competition with 
George A. Hearn, bought “A Girl and 
Her Dog,” by Diaz, for $9,000. 

, Other noteworthy sales were as fol- 
lows: 


’ Freight Boats on the Seine, J. H. Twachtman; 


i MET Ean els ss oe Keene ess $480 
Venetian Fishing Boats, W. G. Bunce; J. R. 

RM Dk 2S. etwas cache ees 470 
'The Smugglers’ Cove, A. P. Ryder; Bryson 

ek acy pein are)s es oc aes 300 


| Boats on the Scheid, P. J. Clays; Tooth & Sons 500 
The Fan, Antonio Mancini; A. G. Andrews.... 475 
Scheveningen in Winter, H. W. Mesdag; 


Bera teetee GAMCLICS Siri. ss ets teen eee 420 
PAn Old Farm, Michel; C. E. Graham........ oe 
Rift in the Storm Clouds, Michel; C. E. Gra- 

ree oa, vi ceiks renee cess ek dbs 1,350 

The Bridge, A. P. Ryder; George A. Hearn 52 


Italian Peasant Girl, Th. Ribot; Scott & 
SSS 4s ee ic 
Le Recurage, L. Mettling; Ralph G. Hall.... 600 
The Curfew Hour, A. P. Ryder; B. Burroughs 560 
Outskirts of a French Village, I. Pokitonow; C. 


NNT SSS, 5 foe wy. 6m we Pein Wiens bre eee 400 
Shore Scene, A. P. Ryder; A. Morton........ 430 
Moonrise, A. P. Ryder; A. A. Healy........ 1,000 
Study in Black, Whistler; R. T. McKee ...... 400 
St. Roche, Tiepolo; C. E. Graham ............ 300 


Return from the Chase, Roybet; Ralph G. 


Hall £28 
The Abduction, A. Monticelli; J. R. Andrews 370 
Landscape, with Figures, A. Monticelli; F. 128 


PN PG Oe i al pih on hin ee ¥ oan es 60m 's bes 1,050 
La Clairiere, A. Monticelli; Otto Bernet 
PHREDE eins oslo voces sen eecse ees penseess 700 
Entree de Village, A. Monticelli; C. W. Krau- 2 
nt. AS eae yore ee ete 75 
In the Wood, M. Monticelli; A. A. Healy.... 725 
In the Garden, M. Monticelli; Blakeslee Gal- 730\ 
ROSES ees ba one as hes necpeanesenaenrs' 
Unloading the Boat, Raffaelli; W. W. Seaman awl 


(agent) ++ -+eeee reer eescres : 


Language of 
Galleries 


A. Waterfall, Van Ruysdael; F. G. Wait.... 
Venetian Senator, Tintoretto; J. T. Pratt...... 
Portrait Isabella d’ Este, Marchioness of Man 

tua, Marmigiano; Knoedler & Co.......... 
A Dutch Cattle Market, Offermans; O. Bernet 

TEST DST CHG Sing seca tapi OO ey Oa eg a 
Triumph of Flora, A. Monticelli; George <A. 


\ 


Hearn 


of the 


Bile «melas 6.0% « 0 wwe whe 


pepe 
| Sroatherd and Dog, Decamps; R. 

The Wave, Courbet Nag Giek 
_| Member 
Galleries 


Poet eeeeeswesersnece 


ee ry 


i i a ee i 


coe ceere 


ORK LPR Owe sey 


Cee e ese rere see 


2,050 | 
1,150. 


S22 
Ra 


ix , L d Her Dos ; 
: are ‘allowing - a Dis. 
x SLigegeelnng 


y tony ei a dealer's | 
delssohn Hall last evening | 
. Kirby offered the more 
owned by the late| 
it of Cottier &.Co., 
With. the. usual 


1 nowe isan ivory | 
G isn’t. vhis. lead pencil), 
ngs si “bet canvases were at first 


ab atl up... 
“felt, for” ‘at ‘first by advances | 
‘antil the. offers had reached the 


10 advances’ until it fell at ite 
ff $3; 750. _Eyerybody ‘wanted - to 


as. ‘more fun for the Bidiones 
8 “Girl and Her Dog” was put | 
; ax knocked down at $5 ,800, |) 

1én a dispute arose over its pos- 
he group of collectors and the | 
aber of : ey in the hall craned 
* necks’ to seé who were the dispu-| 
Under Ai tTules the canvas. was | 
q 


June anda representative of. the | 
fie 8 and a New York dry goods 
pohant. lan interesting little duello | 
“in finance. and artistic appreciation which | 
nded with the New Yorker forcing the | 
ornian to-pay $9,000 foi the canvas. 
ome perinitted: his opponent 
e a Monticelli, ““The Triumph. of 
oh? foe $2,000, to, which figure, how- 
“he forced him from the neighbor- | 
of half that sum, at which it at one | 
e. seemed that ‘the Monticelli was to} 


The dmmall: painting by the late John H. 
'Twachtman which had attracted consider- 
Tipe notice at the exhibifion, “Freight 
ats on the Seine,” was bought by W. 7. 
Evans for. his- collection ‘of American 
| eaten for. $480. Albert P. Ryder’s 
Smugglers’ Cove” went to. B. Bur roughs 
ter $300, and: the same painter’s* Curfew 
| Hour” went.to. the. same.purchaser for | 
$560. No announcement regarding these | 
/Canvases was made, but the impression | 
circulated in the’ hall that the purchaser | 
‘was the artist Brvson AH. Burroughs and | 
‘that it might be that he was buying for! 
‘the Metropolitan. Museum. where he-is a, 
curator of paintings. . 
~ Of the Monticellis; which had attracted | 
as much attention as any of the can-) 
Wases. offered, “The Abduction” went 
to J. R. Andrews at-$370, the “Landscape | 
With Figures” to I.. B. Pratt at $1,050, | 
tha M06. the *E a Otto Burnet as agent 


; A \ Has at $7 28 aud “In the Garden” 
akeslee at $750. 


That the era of the “story picture” has 
no means passed by was shown whién | 
Sir John Everett Millais’s “Little Mrs. | 
Gamp,” which once belonged to the | 
‘Loéndon Daily Graphic, was put up and 
fought for with, more. avidity than many | 
is the other canvases that. called, sy 
ood competition. It fell to Knoedler | & 

. for $6,200. 


- Bronzino> eee le} 


s{gabelia 5a "Pai 


“Girl and. Base 
“Trlumph onfore s Mo 


abe pale 
Biaders in nicely. gol carry ca Dian 


be Lp soRteotare Up to BO, 0 ele t al 


i ‘Modern baa vied. with the a of * 1e 


of the Ing a dorusbe A Mendaiage sol, 

eee ae ae ce th foe oe nich of Ts 
fair 

value: oe gh ie ‘Ryder’ 


proved pretty well when AY AN 
$1,000 f roe the litde panel’ Bs or 


rise,’ that was ‘only § by 10 in 
The other Ryders brought fair ses # 
uDhe ively. bidding, that began. withthe 
first picture offered reached its elim 
in’ a’ duel between GC: ‘E) Graham sid 
Gearge..A.-Fearn for the ‘possession of 
Diaz’s “Girl-and Her Dog.’ After star-) 
dng at $2,000 it. went up to $5,800, and. on) 
being knocked down at that figure was. 
disputed by the two men, whereupen it 
was taken back to the easel and Hearn 
worked it up to $8,900. Graham then of- 
fered $100’ more, getting the big canvas for 
$9,000. Previous to this James Brews er 
and another bidder hada prolonged Sarre 
for.the possession of Gericault’s “Study of 
Horses,’ Brewster eventually getting. it. 
fob $3,750. el 
The Monticellis went for $750,: $725, $676, | 
$700, $1,050 and $370 respectively, "while 
Hearn obtained the mural gecoration, *“bhe | 
Triumph of Flora,’’ for $2,000. Among the 
other important sales were the ‘Isabell: 
D'Este” by Parrmigiano to- 
for. $6,000: Bronzino’s “Donna Gliovannina 
Chevara"’ to Larkin for $9,200; Van ae 
dael's’‘Watertall”’ to F. Ss. Wait for $2, 
Millais's “Mrs, Heugh’’ to James Brewster 
‘for $8,500, and another picture by the same 
‘artist to Knoedler & Co. for $6,200. Hearn 
‘gave $1,150 for Daubigny’s “The Ocean.” 
'R. 8. Hall got two of the Rousseaus for 
| $750 each, awhile the thirdvone went to A. 
\s. Andrews for $425. F. Bo Pratt, paid 
$1,000 for Combet’ $ ‘The Wave " and . gE 
Graham $1,250: for Michel's t in the 
Storm Clouds. '. “The total’ obtained at the 
| session was $70,845. 
. At the -dfterneon sale of the art objects 
pang furniture the chief pieces were two 
vrand pianofortes in elaborately decorated 
{Asab.: The one inlaid with tortoiseshell 
jana mother-of-pearl went te John BE. Pea- 
\body for $750, and the’ other for $600 iy 
| John Duveen, Among the antique ry 
i Savalan went to Chapman for 
‘Pratt paid aia for a) Fiemish tape wate: 
Lorenz, agent, for’ an. ebony net; | 
‘a dressing table sold for $360 bad: ras up- 
holstered arm-chairs to J. d. ‘Bekert,Jr., 
“for $430.. The: total for the entire Role was, 
5202, 804. a Aine 


Beh >t there are’ ot 


§ of jeven be said tt at 
se@ {jority, which, admit 


iY ) ‘es in gro + (owner's tendency mind. here } 
mnected y tly, ak. superb Rousseaus and lovely Da 
line ae e twists |there is an excellent peoyon. ana a Dae 


ws jy “Aap ak i 
rae ke a bright thread t h the id ,}which combines all his porcelain cha 
; ~ \glades Pie Haots, f “and its poetry |with few of his irritatin panalities 
: nt be t-te: the Jéast $) tig (form; there is a magnificent dog 

: The sul Cole observer. Altogether, the group of M - \dwarf by Roybet, there ,are Michels 


Opn ie in iteelt worth a day's journey jgenuinely dramatic power 

to behold and. a. Teasonable fortune to (2 little Raffaelli pworthy of heiteton i 

possess. It ranges from his almost con- [the special groyp signifying an untram< 

ventional but dainty and enticing repre- imeled taste. iThere is a handsome 

lsentations of women as nymphs or god- |Dupré, and there are & Pintores 
n 


a 
subs 


There is also.a oup of L 

bey in dreams and nourished on imaginings eres and there tre dhe face 

*“tias in ** A Garden Party.” d land house decorations of pure style: 

: Among the painters most obviously op- \fine quality. 

1 iponea to Monticelli in character of vis- é " 
aS ce fuser ek of Het i ph | j gs oy 

i aa rhet, who is represente by “ : 

Xq) Poacher,” a “ Coast Scene,” and one of | $1 02,804 A 
psc Rig aay Neretons. ot 2 The Wave” sub-| tiie Se 
ins. (ject, the last a noble and dramatic com- y 

tear water Gnd shy leas synthetlc Higher Prices Obtained at Final nae 


‘Taste. - ~ \desses, quite simply drawn and fr |‘Bronzino, and a Mae 

i : ir : s exceptio 
i jpainted, as in The Triumph of Flora,” ect and execution. yrs 
j ‘to eanvases expressive of a mind sunk 


+ COTTIER SALE. 


erect 


7 | ean Whestler s also famous “Wave,” but | Session. 

| giving superbly the sense of the weight | vy 
tag [and tovement of the element. | There was a marked difference in the | 
510% | Whistler himself is seen in one ex- isecond evening’s sales of the Cottier 


¢ 4 ‘e Lg ) rty ber | ample, “A Study in Black,’ a full-lengvn | ict lad ‘‘t facilitat: th ettlin 
eee p i fisure of a young woman standi ty (PIOLOres ist Je ops uate bis or a 
“James 8. Inglis, on nding with — = the estate of the late James S. Inglis,” 


dae clasped har.ds, dressed in black, against 
American Art Galleries PPro background. A panel of slightly which was concluded at Mendelssohn Hall 
on afternoons and. erent value from the rest of the back- 


eA last evening uhder the auspices of the 


‘ground is directly behind her, and | 
pari t| x4 my Cee tate es S'american Art Galleries, The hall was 
‘rarest quality. Mr. In- of the canvas, the head making a lumi- well filled last night, the bidding spirited, 


and 12, contains! placed with great precision in the centre 


- of independen nous spot in a general mist of tone. The, Mt 
ly was sate iene comnposition is interesting ‘and Caniitis ooo a number of well-known mén WESs 
_ ‘ously considered as in all of Whistler’s buyers. 

| A Diaz, which was sold twice, the sec- 


i by his business associa- | pictures. . 
| opportunities. Many of the, At the opposite pole from Whistler, min ond ims ie nee, pee bi ee ogre 
acquired bv him in his career John Millais is represented by his “Little made one of t e interesting incidents 6 
Pee PY : | Miss Gemp,” a characteristic child picture the sale. The picture was an unusual 
‘of Cottier & Co. were bought! of the eighties, and one ar the best works |one, 80 inches by #8. the figure of a fair 
the artists. themselves, and repre- of his middle years, the ‘* Portrait of paired girl standing beside 4@ vase of 
‘a personal expression € that taste,| MS: Heugh,” an old Welsh lady whose flowers, piaying with a dog, and with 4 
islet 9 ‘nationality and individual temperament slimpse of iandscape in the background 
anges of the school of | are embalmed in this minutely faithful sting one Heat eae re. oe eee 
so-called - anti intera, | C2nVvas. she wears a black silk dress) i 
ec, wort ee rece et Sy Potter @ thought, ne bad bougt sen only one Bid 
os ; }ereen-covered chair with a white anti-| 2°: - tel 20. 8 Re. ae! 
‘schools. It is sald in| macassar. The transparent strings of her| der, Mr. Hearn, and his representative 
the sale of the cole car ive spread pompously over her velvet, calling the bids below, had seen only Mr 
lati th 4 ; ga shoulders, her hair is neatly brushed in|Graham. , Hach thought the picture hac 
cot the ab inuanee Of | smooth pands on her forehead, Her paro- gone to his man. When the mistake was 
Cottier & Co., put. d#| quct sits contemplative on his perch be-| discovered the picture was brought back 
5 the settlement of the side her, It is a domestic scene such asjand Mr, Hearn gave Mr. Graham a ho 
5 I Ai ( ; | Millais “was perfectly adapted to paint contest for it, the latter finally gettin: 
Mr, Inglis. + | without imagination or malice, and may|it for $9,000, the second highest price © 
f the most important pictures in be regarded as one of his.few master-| the evening. 
ition is the “ Dante and Virgil,” pieces. in portraiture. ‘| The total returns for the evening wer 
3  yurning back to the sub ective paint-|$70,345. Here are the names of pictures 
. of which the- S : | 
of w tiejarecr version | ors there are a number of invaluabla|artlats, buyers, and prices in the orde 


in the Boston Museum. With ali | examples of the work of Albert P. Ryder. sold: 
i, this artist)Freight Boats on the Seine—Twachtman; 


Ss ol feeling an 1 tion, |AS in the case of Monticell 

1h sea Di irtoss Rai ap ar ip Pies | is shown in his most poetic and least) W. T. Hvans...-+-ss:-snesaee OEE eI $4& 
of the airy eedom, puzzling side. His little long panels,| Early Morning, Veniee—w,. G. Bunce; G | 
lity distinguish- | “‘ The Smuggler’s Cove,” ‘' The Bridge,| A. Hearn .-..-+- +41 is ele vino sin Reverie 2§ 
bias many & ne “ Shore Scene,” ore cay aah is : ao pee of Charles V.—Roybey; C- EB. ps 
In some re- | lacauared surfaces, thelr depths 0 vory|.- BY ote cr oe tS cit ane hit plete y J 
ers in @ | and  ahegen g cary and wer Srey Javon inarews es c4 Boats—Bunce; J. RB, - 

over layer of faint tones until @ arkness ne a sige os Baie as ees Mee es en kine 
that has almost no relation to color 0 eet ay Paver | RE a 

achieved, and are also as delicately clear posts on the ‘Séherat--Clays; Tooth & 
in their reasonable significance as a SONS “osc n oss He ee cree 4 9s ry fore hae coe 5! 

part in the fore- Daubigny landscape. In the little cam-|;he Option: Alsace After the Franco- 
his habitual attle vas called “Moonlight,” in spite of the) Prussian War—Bacon: Spencer.-«++e.08 8 
nd the clear-|'The Kimono—W, M. Chase; W. T, Brady, 2! 


tangible forms of the sheen a 
lis are two of that cut profile of the trees against an evening| Dead Game, Fish and Still Life—Jan Fyt; 
ant ig that of mysticism, G, H. Ainsley... ++ OTN ticat ey e pal i 


lartist’s most rioto sky, the sentim< 
otous creations, de in sky, Py ne Fan—A, Mancini; A. F. Andrews, >< 
akes- 


‘éolor and as richly modeled as tho ii expresses in color what Bla 
igment were clay to be sculptur ice by some sorcery to convey in his draw-| Scheveningen tn Winter—Mesdag;, ; 
he desired forms, although none of ag for Philips's:‘‘ Helogue,” the srand= Raha! moar aay siichel: G30, Gaee 
Show the excessive. In the “ Landsca: eur and peace and elemental beauty of} + a. arm—George 4 el, © 6 
pwith Figures’ we get his characteristio- @ rural landscape by night. The * Curfew) , Hitt in the legion, ‘Gidhas_G. Michel; ; 
lally jeweled color in a charming and in- Hour’ is more suave, but has not quitel ~~ 4 ae er nga ik ern ALF ae ek +) 
tricate pattern, but very little distinguish the same. touch of wildness peneath it8\ppé Briage—A. BP. Ryder; G. A, Hearn... & 
‘apie form. In ‘‘ La Clariére,”’ however, surface charm. An Italian Peasant Girl—Ribot; Seott & 
‘the tone is quieter, the color less feverish, Among the water colors and pastels ar@) Powles ....--crreesew ste cr ses tte 4 
‘the forms more delicately discriminated, two. that claim attention for their ores Lea Recourage—Louls Mettling; R..S. 
@nd the whole sentiment that of the paint- inality of invention and mastery, of tech~| Hall ...++--2+: claus ee pee ee sents { 
ler’s graver and saner mood. nique, . John La Farge’s ‘Swimmer, aiThe Evening Star~Etty; Mr. Spencer... 
In the ‘Entrée de Village” there ig @ )man pushing with a powerful thrust of The Corsatr—Btty; Blakesley Galleries... ¢ 
mild serenity of composition with ample jthe arm erorer deep Pile ysceind eee adel i fiour--A. P, Ryder; B. Bur- | 
air and movement and a b illi f \** Loge des Dunseuses,’ by Degas, tu A Uikag 8g che ht 6018 LAE aks » tee ee 7 
‘of Ught. This, in fact, is fee eg ‘expressive of the, painter's eereet 4 OURS Eat, ataaa tah Seana. } 
in craftsmanship and guore “Scene—A. P. Ryder; Alexander 


of sincerity 


the warmer and more snectacular light- These are, perhaps, the pictures that Moonrise--A. P: Ryder; A, A. Healy. 7.- 1, 
ing of the scene there is not a little In differentiate the collection from other fine A Study in Black—Whistler; R. T. Me- 
‘its architectonic arrangement of line and collections, that put upen it the stamp Kee ....- peeteneers setneres citerecssae eee : 
{ts délicate sense of motion to suggest the ef an elevated and strongly marked iIn- St, Roche—Tiepolo; C. Graham. ....+ i 
greater master. Two other pictures aro Si bayer ae tte prptecy Te eth SH 
the work of Monticelli and Matthias little outside the current of the te ADs ani : : 

Maris jointly. _ yet seeks only the goal of the bast. here Tie Abduction, -Mentiol” J. BR. An- 
A very unusual example of Monticelli's 22s seldom been offered a collec ON SOpanascape with OI Raabe 4 perp DRE, 1 
middle period, yet one that is highly char- stirring to the imagination, or so designe ae Soe migaten on ona. 1, 
acteristic, is ‘‘La Fontaine,” in whieh to spur collectors toward the formationra Clairlere—Monticelli; Mr. Bernot, 
we have again a structure of line that fs of pe rsonal standards, agent sess Ueiwengecsarergessesnseshecdiae 


inelined toward severity, and a pearliness. 


‘shows Monticelli at the moment of his ideal 
nearest approach to Corot, In spite of | V!5-0n- 


_ 


SARC aweeses ok cae Pit he eS Rls 750 


bce the Boat—Faffael Sy? Ww. 


seeeesivesrsacseveresecs 120 


age 
"an Algiers” Camel —'Broiscatin As AL ore 
-.S Goatnerd and His Hoe ve. Camps; 
| McKee pers Bekipers Seema etsy 
. Strauss, wae BBO 
Pra 


cr ad 


Wench inseate -Detailler N. 


| ote @ Wave—G. F. Courbet: F. «a» 1,000 
Member of the Reape cutee Blakes- 
Bey Galleries. ee ced ane ss veenteetavess 420 


| Cattle—Troyon; A. B. Meyers......-+4.- 


Se PUAMAMUITANG SS ScsS)000 LG) e das 5 ma sco Seweiwae hi Sent 


The Pee eaassans R. 8: ook LapPita wee: \ 1100 
In the Pyrenees—Rousseau; R, 8, Hall... 750: 
On the River Below Dordrech (—Daubigny; 

a MPMRIEINT As: (1500 oh 1811-5 aly irae ade ae 2,050) 
The Ocean—Daubigny; George A. Hearn,. 1,150) 
The Language of the Fan—Lefebvre; Hol- 


ato BN AROS RACY a (Tea ae 460) 
Study of Horses—Gericault; James Brew- ] 
CERES TEN, Soest ts siete mata car bis fails pr a'a Sree Paea 8,750) 
in the Convent—Francois Bonvin; H, ms 
MEME iT AUT Ni dcig Poy ae as ce > 476 
The Housemaid—Bonvin: J. R. Wilson. 625) 
Littlé Mrs. Gamp—Millais; M. Knoedler | 
PEER P ERS ate a) 5 Day 94-6 k Peis s wig tag Eee 6,200 
The Satyr and the Peasant’s. Family— 
Nicholas Maes; I. Gleanzer & Co, ..... 460) 
| Portrait of. Mrs. ba eae se, James 
MRE VCRTOG Cy Saas isle wp tialk cb doves a stete aia a 8,100) 


| "Phe Sisters Lady Ranelagh | ‘and Lady | 
'| “Brereton—Kneller; Blakesley Galleries. 875) 
| A Waterfall—Van Ruysdael; F. S. Wait. 2,800) 
A Venetian a Race upanees a ia . 

ROME SOE Ok Cui Wicha yas ng di choles a Mack ou a= 625) 


kin, (lawyer of New York)........., - 9,200) 


EMIT LON ir ON v0 5 vs Wea bd occ Hace Race 6,000 

A Giri and Her Dog—Diaz; C. E. Gra- 

RAMEE es SCs crite seth hd lp ek cook Bates oes 9,000 
A Dutch Cattle Market—Offermans; Ber- 

RMRIIRIEMGM GK S, <a1e Cee sre qiiice Sete eset ne 400 

The Triumph of ¥lora—Monticelli; | 

PreOrees ALTA dec ye Seccccccdsacens 2,000) 


SLA SATE USS Oe aaa ey a vadavgn 870,845, 


| The total returns for the entire sale, | 
twa Be aeons and evenings, were 
3102.80. 

4 Art fates pianos, cabinets, and 
Chairs were sold in the afternoon. Mrs. 
R. L. Williams made a number of pur- 
chases, buying among other things a 
& chaise longue with a handpainted ma-| 
‘plewood frame and covered with cream-'| 
eolored brocade for $100. John E. Pea-| 
Body paid the highest price of the after-| 
moon, $750, for a concert-grand piano and) 
bench, the case inlaid with tortoise shell, | 
mother- -of-peari, mahogany, and golden) 
|) ebony. The interior was hand painted, | 
and portraits of composers and an in- 

\seription completed the decorations. 
A very large cabinet inlaid with tortoise- 
erent” mother-of-pearl, and rare woods 
went to the same buyer for $300. 


a 


Spiritea bidding and a Se 
‘the closing sale last event m Menc 
of paintings belonging to Cottier & sat me 
tate settlement of the estate of the tee ase: 3 
Inglis. The sale realized $70,345, making @ total 
$102,804 for the two ecant nae two: 


sessions. 
The highest price, § Be wi paid 


of Donna Giovannina Chevara and her 
Bronzino. C, H. Graham, after keen \ 
with George A. Hearn, bought “A ghee dA 
Dog,” by. Diaz, for $9,000. . pea on 

Other noteworthy sales were: - Ce a 


artist and buyer. Br 
Preient Boats on the "Seine, J. x, ‘Pwachtme 
Venetian y ishing’ Boats, Wel B ince 9 
The Srhacbiene | Covel A. Ryder t; 
TOURNEY Gague sca es cea 
Boats of the Schelat, P. J ‘Clays; Tooth & Sons 
The Fan, Antonio Mancint;, AL 8! Ror bagges or vi 
Bcheveningen in Winter, H : ; 
Peay dis Re ee gc for Uap septa oe : 
n Farm, ene. e eae pew ereeseseos 
A. Rite in the Storm Clouds, Michel: Ga . Graham.. 
) e, A. yder; George ang eray 
An Italan Peasant Girl, Théodule Ribot; 
TB OWIGSh Se a ear eee i ee peer 
Louis Mettling; ‘Ral ah G. 
The Curfew 


our, A. P. Ryder; B. Burroug! 
ane eran ef s French iildges Ivan Pokiton 
i amg..... Rea Paty Corey : 
‘Shore Scene, A. P. Ryder; Asai Morton. .« 
Moonrise, A. P. Ryder; A. Rg thc ealy..stenss- 
4 Study in Black, vee ae McKee... a 
oche, Tiepolo; SO ee ernie Bet 
Return from the Chase, Roybet; ets Ral G. atl 
The Abduction, Adolphe Monticelli ie 
bes sag with Figures, Adolphe ‘wontineltts” 
tt Stee ee reeves tan seem ole 8 oe sh 
La Clatriéré, Adoiphe Monticelli; “Otto “Bernet E 
Entrée a Village, Adolphe Monticellt; Ba 
Kraushaar ...-..- Bib vaka nd baie ew: Me lplele eels ie 
In the Wood, Maris—Monticelll; oe Augustus sitocios 
In the Ganien, Maris-Monticellt; ete Gal diay 
Unloading the Boat, Raffaelli w. 1 
(ABN). 4. .i- 565 es ee See ee 
‘A Goatherd and His Dox, Decamps; R, T. Maeaery 5 
The Wave, Courbet; B. Ray Rb Sis aie avon We binr wie mieten 


e 


gee £0 cawee ee ere pee i 3 


French Hussars, Détalile: N Strauss ee leneierere . 
A Member of the Guard, Couture; acne ‘Gal- 
Joris cio keus cas. ubea ey conte nee ea Amo ete a tae 


Cattle, Troyon; B. Me: vers. dita ve bebeseesmie 
nue C@hureh in ee Valley, Rousseau; A. G An- 
POWM A aan a woes Carb Le vane ie ote imate otis Dates 
The Pond, Rousseau; Ralph: G. Hall.. Bree Sy 2 
In the Pyrenees, Rousseau; Ralph G. ‘Hal oeecah ae 
gee os River Below Dordrecht, Daubigny; J. 
BOW saindd uat nash ine sae eee Retainers 
The Ocean, Daubiguy; George AO HOSEN: cv 4 sins > Ay 
The Language of the. Fan Latent: Holiand Art 
Galleries ....... 
Study of Horses, Géridy 
In the Convent, Bon ; AW 
The Housemald, ‘foavit: ‘IR y ; 
Little Miss Gamp, Millais; Knoedler & Ge. Peeks 
The Satyr and the Peasant’s Family, Nicholas Maes; 
Bugene Glaenzer ........ Sash be arena 
Portrait of Mrs. Heugh, Millals;. James Brewater, . 
The Sisters; Lady Ranelagh and Lady Breton, Bir 
Godfrey Kneller; Blakeslee Galleries... ....+.+.6+6 = 


i ey 


ee ok 


werere 


ane He 


A Waterfall, Van Ruysdael; F, g. Mate Sosy wince 
‘A Venetian Senator, Tintoretto: J. 'T. Pratt........ 
Portrait of sere wccaiat a Marchioness of Mae 

Parmigiano er Oia pales aSyane ely a.aloa PROT MS &, 
ne poder Cattle Market, - Offermans; 0. Bernet ; 
ager Che cena dos +o coos wane slp PO 6 Cate Oe 4s wom yee bah 

The Triumph of Flora, Adolphe Monticelli; Georgs 
VAs PAGO PTE) Sioa eens Se aoe 


The highest price of the afternoon—$750—was paid 
by John E. Peabody for a concert grand piano and 
bench, the case inlaid with tortoise shell, mother- 
of-pearl, mahogany and golden ebony. Mr. Peabody 
also paid $300 for a large cabinet inlaid with rare. 

woods and mab theror Paar 


ad aa eclvimiee te 6 mga ¥ 


eae d 
: AND OTHER ART PROPERTY 


7" 
3 
be 
a . 
\ 


in ORES BELONGING TO 


ry V° 


_ COTTIER AND COMPANY 


American Art Galleries 
Madison Square South 


: New York 


UABLE PAINTINGS 


iit 
ial 
it 
i | 
ii 
‘al 
Bi 
ii 


ON VIEW DAY AND EVENING 
AT THE AMERICAN ART GALLERIES 


From Saturpay, Marcu SixtH, UNTIL THE MorNING OF 
THE Day oF SALE, INCLUSIVE 


THE VALUABLE PAINTINGS 
AND OTHER ART PROPERTY 


TO BE SOLD TO FACILITATE THE SETTLEMENT OF THE ESTATE 
OF THE LATE 


JAMES §. INGLIS 
COTTIER AND COMPANY 


NEW YORK 


UNRESTRICTED PUBLIC SALE 
AT MENDELSSOHN HALL 


Fortieth Street, East of Broadway 


On Thursday and Friday Evenings, March 11th and 12th, 1909 


BEGINNING PROMPTLY AT 8.30 0’ CLOCK 
AND AT THE AMERICAN ART GALLERIES 


On Thursday and Friday Afternoons, March 11th and 12th 


AND VIRGIL 


Ww 
ae 
ve 
< 
fa) 


ILLUSTRATED CATALOGUE 


OF 


PAINTINGS AND WATER COLORS 


OF THE 


ITALIAN, FRENCH, DUTCH AND AMERICAN 
SCHOOLS 


BY 
Old and Modern Masters 
AND OTHER ART PROPERTY 


' TO BE SOLD TO FACILITATE THE SETTLEMENT OF THE ESTATE OF THE LATE 


JAMES S$. INGLIS 


COTTIER AN 


I 


D COMPANY 


NEW YORK 


TO BE DISPOSED OF AT UNRESTRICTED PUBLIC 
SALE ON THE DATES HEREIN STATED 


THE SALE WILL BE CONDUCTED BY 
MR. THOMAS E. KIRBY, OF 
THE AMERICAN ART ASSOCIATION, MANAGERS 
NEW YORK 
1909 


ee, 


Pressof J.J Little & Ives ‘Cae 
425-435 East Twenty-fourth Street, New 


. 
atin 
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“ 


INTRODUCTION 


The house of Cottier & Co. has stood for whatever was highest in the fine arts 
and in artistic decorations from the time when Daniel Cottier in 1873, appreciating 
the wonderful understanding of the American people for art, established in New 
York City a branch of his English house. The late James S. Inglis, who was then 
associated with Mr. Cottier, became the manager of the New York branch, later a 
partner, and finally the owner of the business, with its headquarters in New York 
and a branch in London. ‘The wisdom of the two men in establishing themselves 
in New York City was thus proved. 

The collection of pictures and works of art now offered for sale has been 
gathered during the past thirty years, many of the paintings having been purchased 
directly from the artists. ‘They represent not only the rare discernment and appre- 
ciation of art of the late Mr. Inglis, but also his “courage and independence in 
recognizing artistic work wherever found. They are not merely an aggregation of 
canvases, but a personal expression of taste, and as such gain additional importance. 

Here may be seen a number of canvases by the men of 1830, of whose merits 
Daniel Cottier was one of the earliest and staunchest supporters. Of Corot’s 
exquisite art there are several noble examples, representing the highest consummation 
of his powers. Of Daubigny there are also examples of first importance, as well 
as of Diaz, of Michel, Troyon, Rousseau and of Dupré, while their successors, Roy- 
bet, Ribot, Mettling and Bonvin should not be overlooked. 

The Romantic painters, representing that awakening which stirred the middle 
of the nineteenth century against the conventionality of classic painting, are repre- 
sented by Decamps, Géricault, Fromentin, Couture and Courbet. 

The critical visitor will be interested in the wide range shown, which includes 
Tintoretto, Bronzino, Parmigiano and Tiepolo of the old Italians, hanging with works 
by men of to-day; Rembrandt, Ruysdael, Maes and Fyt are contrasted with Mauve, 
Bosboom, Mesdag and Oftermans, and Ribot and Bonvin with Degas and other men 
of his school. 

The American school is also represented, including works by Chase, Twachtman, 
Ryder and La Farge. Then there are a number of the denationalized painters such 
as Bacon, Whistler, Doré, Gegerfeldt and Mancini. 

The sale of the collection will not affect the continuance of the business of 
Cottier & Company, but is made merely to facilitate the settlement of the estate of 
the late Mr. Inglis, who was not only the president of, but also held a large financial 


interest in, the house. The sale will be absolute and without reserve. 


CONDITIONS OF SALE 


1. The highest Bidder to be the Buyer, and if any dispute arise 
between two or more Bidders, the Lot so in dispute shall be immedi- 
ately put up again and re-sold. 

2. The Auctioneer reserves the right to reject any bid which is 
merely a nominal or fractional advance, and therefore, in his judg- 
ment, likely to affect the Sale injuriously. 

3. The Purchasers to give their names and addresses, and to pay 
down a cash deposit, or the whole of the Purchase-money, if required, 
in default of which the Lot or Lots so purchased to be immediately put 
up again and re-sold. 

4. The Lots to be taken away at the Buyer’s Expense and Risk 
within twenty-four hours from the conclusion of the Sale, unless 
otherwise specified by the Auctioneer or Managers previous to or at 
the time of Sale, and the remainder of the Purchase-money to be abso- 
lutely paid, or othernise settled for to the satisfaction of the Auc- 
tioneer, on or before delivery; in default of which the undersigned will 
not hold themselves responsible if’ the lots be lost, stolen, damaged, or 
destroyed, but they will be left at the sole risk of the Purchaser. 


15. While the undersigned will not hold themselves responsible for 
the correctness of the description, genuineness, or authenticity of, or 
any fault or defect in, any Lot, and make no Warranty whatever, they 
will, upon receiving previous to date of Sale trustworthy expert opinion 
in writing that any Painting or other Work of Art is not what it is 
represented to be, use every effort on their part to furnish proof to the 
contrary; failing in which, the object or objects in question will be 
sold subject to the declaration of the aforesaid expert, he being liable 
to the Owner or Owners thereof, for damage or injury occasioned 
thereby. 

6. T'o prevent inaccuracy in delivery, and inconvenience in the settle- 
ment of the Purchases, no Lot can, on any account, be removed during 
the Sale. 

7. Upon failure to comply with the above conditions, the money 
deposited in part payment shall be forfeited ; all Lots uncleared within 
one day from conclusion of Sale (unless otherwise specified as above) 
shall be re-sold by public or private sale, without further notice, and 
the deficiency (if any) attending such re-sale shall be made good by 
the defaulter at this Sale, together with all charges attending the same. 
This Condition is without prejudice to the right of the Auctioneer to 
enforce the contract made at this Sale, without such re-sale, if he 
thinks fit. 

8. The undersigned are in no manner connected mith the business of 
the cartage or packing and shipping of purchases, and although they 
will afford to purchasers every facility for employing careful carriers 
and packers, they will not hold themselves responsible for the acts and 
charges of the parties engaged for such services. 


Tue AMERICAN ART ASSOCIATION, Manacers. 
THOMAS E. KIRBY, AvcrioneeEr. 


ARTISTS REPRESENTED AND THEIR WORKS 


CATALOGUE 
NUMBER 


ALLORI, Ancioto (cattep BRONZINO), 


Donna Giovannina Chevara, Wife of Don Antonio Ramirez di 
Montalvo, and her Son 108 


BACON, Henry, 
The Option: Alsace after the Franco-Prussian War 61 


BASTERT, NicHonas, 
Winter in Holland 8 


BERNE-BELLECOUR, Erienxe Prosven, 
The Prisoner 41 


BONVIN, Francois, 


Still Life 26 
In the Convent 100 
The Housemaid 101 


BOSBOOM, JoHANNNES, 
~ At Communion 15 


Interior of a Gothic Church 16 


BUNCE, Witu1am GEDNEY, 


Bessie Watt’s Meadow 20 
Early Morning—Venice 56 
Venetian Fishing Boats 58 
CASANOVA Y ESTORACH, Anrronio, 
Stolen Sweets 34 
CHASE, Wiviu1am M., 
A Young Egyptian 25 
62 


The Kimono 


CHIFFLARD, Francois Nicouwas, 
Nymphs Bathing 


Bacchanalian Revels 


CLAYS, Pau JEan, 
Boats on the Scheldt 


COROT; Tran BarristE CaMmILue, 
Girl Picking Wild Flowers 
Dante and Virgil 


COURBET, Gusrave, 
The Poacher 
Coast Scene 
The Wave 


COUTURE, Tuomas, 
A- Member of the Guard 


DAUBIGNY, Cuartes Francors, 
Landscape 
Landscape 
On the River below Dordrecht 
The Ocean 


DE BOCK, Tutornte, 
Landscape at Twilight 
The Edge of the Forest 


DECAMPS, Atexanpre Gar IEL, 


A Goatherd and his Dog 


DEGAS, Hinatrre Germain Epear, 


Loge des Danseuses 


DELPY, Camirir Hip POLYTE, 


On the River Oise 


CATALOGUE 
NUMBER 


22 


23 


60 


46 
54 


28 
29 
90 


91 


31 
96 


39 


88 


18 


21 


CATALOGUE 
NUMBER 


DETAILLE, Epovarp JEAN Baptiste, 
French Hussars 89 


DIAZ DE LA PENA, Narcisse Vircite, 
A Girl and her Dog TE 


DORE, GUSTAVE, 
The Mocking of Christ 50 


DUCHATTEL, Frepvericx J., 
The Towing Path 4 


DUPRE, JULES, 


Chaumiéres pres Cayeux 48 


ETTY, Wim, 
The Evening Star 71 
The Corsair 2 


FROMENTIN, Evcene, 


In Algiers—Camels 87 
FYT, Jan, 
Dead Game, Fish and Still Life 63 


GERICAULT, Jean Lovis THeopore, 
Study of Horses 99 


KNELLER, Sir Goprrey, 
The Sisters Lady Ranelagh and Lady Brereton 105 


LA FARGE, Joun, 
The Swimmer Li 


LANCON, AvucGuwsrtT, 


Lioness and Cubs 10 

A Tiger Resting it 
LEFEBVRE, Juves Joseru, 

The Language of the Fan 98 


LESSORE, Ju tes, 
The Abbey of St. Denis 
The Lower End of Manhattan Island 
View of New York a Few Years Later 


MAES, NicHo.was, 
The Satyr and the Peasant’s Family 


MANCINI, Anronto, 
The Fan 


MARILHAT, Prosper, 
On the Nile 


MARIS (Maruias )—MONTICELLI 
In the Wood 
In the Garden 


MAUVE, Anron, 


Returning from Pasture 


MAZZUOLTI, Francesco (cattep PARMIGIANO), 
Portrait of Isabella d’Este, Marchioness of Mantua 


MESDAG, Henprix WILLEM, 
The Lighthouse 


Scheveningen in Winter 


METTLING, Louis, 
The Evening Meal 


Le Récurage 


MICHEL, Georges, 


Landscape and Sheep—A Passing Storm 


An Old Farm 
A Rift in the Storm Clouds 


CATALOGUE 
NUMBER 


vt 
13 
14 


103 


64 


w© 
-2 


19 


109 


65 


36 
70 


CATALOGUE 
NUMBER 


MILLAIS, Sm Jonun Everert, 
Little Mrs. Gamp 102 
Portrait of Mrs. Heugh 104 


MOLLINGER, Gérarpv ALEXANDRE, 
The Flax Dressers 51 


MONTICELLI, Avotrue, 


La Fontaine 42 
A Garden Party 43 
Matinée de Printemps 4b 
The Abduction 80 
Landscape, with Figures 81 
La Clairiére 82 
Entrée de Village 83 
The Triumph of Flora 113 


MULLER, Anron, 
The Old Clock Mender 32 


OFFERMANS, Towy, 
A Dutch Cattle Market 112 


POKITONOW, Ivan, 
The Outskirts of a French Village rc: 


RAEBURN, Sm Henry, 
Portrait of a Lady 45 


RAFFAELLI, Jean FRAnNcIsQueE, 
Unloading the Boat 86 


REMBRANDT (Scuoou or), 
Portrait of a Young Man 49 


RIBOT, THtopvute, 
An Italian Peasant Girl 69 


CATALOGUE 
NUMBER 


RICHTER, porno: 
The New Gown 38 


ROBIE, Jean Baptiste, 
Flowers and Still Life 37 


ROBUSTI, Jacoro (cattep TINTORETTO), : 
A Venetian Senator 107 


ROUSSEAU, THeopore, 


Edge of the Forest AT 
The Church in the Valley 93 
The Pond . 94 
In the Pyrenees 95 


ROYBET, Fererpranp, 
A Dwarf of Charles V. 57 
Return from the Chase 19 


RYDER, Axvzerr P., 


The Smugglers’ Cove 59 
The Bridge 68 
The Curfew Hour 73 
Shore Scene 75 
Landscape, with Sheep 716 


SCHUCH, Werner, 
The Retreat 33 


SIMONS, Pinckney Marcius, 
The Chariot of the Sun 40 


SPANISH SCHOOL 
The Young St. John 52 


STACQUET, Henry, 
A Country Road in Flanders 1 


TIEPOLO, Gtovannt Barrista. 
St. Roche 


TROYON, Constant, 
Cattle 


TWACHTMAN, Joun H., 
Freight Boats on the Seine 


VAN DER MEULEN, Anrorse Francors, 


A Battle in Flanders 


VAN DE VELDEN, P., 
A Mission of Mercy 
Ship at Anchor—Moonlight 


VAN RUYSDAEL, Jacos, 
A Waterfall 


VON GEGERFELDT, Wituem, 


A German Village in Winter 
Co 


WHISTLER, James McNeir1, 
A Study in Black’ 


ZWART, W., 
A Corner of a Dutch Town 
Winter in Holland 


CATALOGUE 
NUMBER 


78 


92 


55 


53 


106 


‘s} 


FIRST EVENING’S SALE 
THURSDAY, MARCH 11, 1909 


AT MENDELSSOHN HALL 


ForRTIETH STREET, East oF BROADWAY 


BEGINNING PROMPTLY AT 8.30 0 CLOCK 


A“ WATER COLORS 


No. 1 


HENRY STACQUET 
1838— 
Lf Druw 

A COUNTRY ROAD IN FLANDERS ae 
SkIRTING the foot of a hill, sloping upward at the left, a road curves 
across the foreground to the right, down which the figure of a peasant 
woman is seen coming toward the spectator from a house whose gable 
is clearly visible rismg from beyond a clump of bushes. A group of 
gaunt trees, to whose branches a few brown leaves still cling, rise in 
the middle distance on either side of the road, with some remnants 
of a board fence still standing here and there. Across the valley the 
rising slope beyond, ending in a fringe of distant trees, is seen in 
sunlight contrasting with the shadowed foreground. 


Signed 


Height, 14 inches; width, 914 inches. 


‘eS 
Ss 


No. 2 


P. VAN DE VELDEN 


A MISSION OF MERCY Arley $120 


TurRoucH the woods, white with snow, a woman in blue peasant dress, 
wearing a heavy cloak, makes her way on some errand of mercy. On 
her head she wears a close-fitting cap, and her dress is short enough to 
show her feet encased in sabots. With her right hand she raises her 
cloak to protect her face from the cold, while in the other she car- 
ries a vessel containing nourishment for some deserving person. No 
path is broken through the snow, which is drifted high against the trees 
that form the background. 


Signed. 


Height, 191% inches; width, 13Y inches. 


ye 


No. 3 


W. ZWART 


A CORNER OF A DUTCH TOWN CML. Wblebme 


BeErore a row of old houses, the lowly habitations of the poor, which 
open on a narrow cobble-paved street, an old woman bent with age is 
seen halting before a door. She wears a light blouse and dark skirt, and 
her head is covered with a cap. ‘To the left is a line of trees, and at the 


end of the vista are seen the roof and chimney of a house high above. 


Signed. 


Height, 10 inches; width, 514 inches. 


No. 4 
FREDERICK J. DUCHATTEL 
THE TOWING PATH CM Maen 


Aone the path bordering a canal, a man is seen tugging at a line 
attached to a canal boat which comes about a curve in the route. Be- 
yond rises a brick country residence of the better class, such as are 
familiar throughout the land, its garden enclosed within a high brick 
wall. A grove of tall leafless trees rises at the back of the house, 
growing thicker as it extends into the distant landscape. A row of 
smaller trees above the white waters of the canal indicates the line of 
the highway. 


Signed. 


TTleight, 9 inches; width, 18 inches. 


f) 


No. 5 


HENDRIK WILLEM MESDAG 


1831— 
THE LIGHTHOUSE tL fase 


ABove the sand dunes rises the tall, tapermg lighthouse, with long, 
dark buildings reaching out at the base. Clustered along the beach are 
a number of Dutch fishing boats drawn up on the sand, some having 
their sails, some nets, hung up to dry. Men and women are gathered 
about the boats, and horses are ready, waiting to drag them back to the 


water for another haul when the present harvest is disposed of. 


Signed. 


Height, 14 inches; width, 16 inches. 


AD ae 


No. 6 


W. AZWART 


WINTER IN HOLLAND ADC thince 


Snow lies deep on the ground and roofs and on some old boats lying 
in the foreground, past which a path is broken. Two figures, a man 
and boy, are seen; the boy, standing, puts up his foot as if to have the 
man seated on the edge of the boat adjust his skate for him. The bleak, 


leafless trees and gray skies tell further the season of the year. 


Signed. 


Tleight, 13% inches; width, 15%4 inches. 


No. 7 


JULES LESSORE 


THE ABBEY OF ST. DENIS LA. Nebbthein 


BrEForE a wide market-place rises the dignified old abbey near Paris, 
long celebrated as the burial-place of the kings of France. The. 
Romanesque facade, with its round arches, its three wide portal bays, 
its single completed tower, has stood for more than seven centuries, 
having been completed in the year 1140. A continuous stream: of vis- 
itors is seen passing in the south portal, while nearer, on the left, a 
market for the sale of various wares is in progress. 


Signed. 


Height, 2914, inches; width, 2114 inches. 


No. 8 
NICHOLAS BASTERT 


WINTER IN HOLLAND 


ALONG a roadway marked by deep wagon tracks in the show a woman 
is making her way, with slow progress, past a row of pollard willows. 
The road, as indicated by the trees, curves to the right as it advances, 
and is lost to view. A few tall thin poplars rise in the centre of the 
picture, and at the right a wooden barrier appears. ‘The sky is heavily 
overcast and ominous. 


Signed. 


Height, 9'% inches; width, 13% inches. 


cL 


No. 9 


THEOPHILE DE BOCK 

ee LEO CAL 
LANDSCAPE AT TWILIGHT iyo te 7a 
On the right of a pool of water in the foreground some silver birch 
trees rise, bending over the pond and outlined against a background 
of green woodland. The figure of a woman is seen walking through 
the meadow, which is starred with flowers. To the left a single tree 
stands forth. It is the evening hour, and the sky 1s filled with primrose 
light. 
Signed, 


Height, 131% inches; midth, 191% inches. 


No. 10 
AUGUST LANCON 


LIONESS AND CUBS M* parte em A 


In a sequestered place, far from the haunts of men, a tawny lioness 
hes with her young beside her. ''wo are being fed, and a third, on the 
other side, looks over her great paw at the spectator. In the distance at 
the left her mate, the king, looks on, keeping watch against any 
invader. Nothing, however, disturbs their serenity. 


Signed. Dated 1880. 


Tleight, 10 inches; width, 14 inches. 


No. 11 


AUGUST LANCON 


A TIGER RESTING Mle Lt lors 


AT peace with all the world, now that he has been well fed, the tiger 
lies stretched full length on the ground. Every brush stroke, both here 
and in the companion picture, shows complete knowledge of these 
animals, their anatomical structure, their nature and their external 


aspect. Their portrayal is a field in which few excel. 


Signed. 


Height, 10 inches; width, 13% inches. 


? 


Non wd 


P. VAN DE VELDEN 


SHIP AT ANCHOR—MOONLIGHT Chl bban 


WirH sails futtering, the noble ship has come to anchor for the night. 
She lies in the silvery pathway which the rising moon has laid down 
across the water. She has her yawl in tow, and in the distance at the 
right other boats le at rest, their sails down. The sky is filled with 
clouds, which are touched with silver by the moon, against which the 


black hull and sails make a striking and dramatic contrast. 


Signed. 
Height, 41 inches; width, 31 inches. 


Purchased from Wunvertiicn & Co., New York. 


U No. 18 


| 


JULES LESSORE 
8 bet 


THE LOWER END OF MANHATTAN ISLAND 


ABOVE the thickly set buildings, fringed about with shipping, rises the 
spire of ‘Trinity Church and the mass of the Federal Post Office. In 
the foreground are a varied assortment of water craft, while beyond 


stretches the beautiful bay like a sheet of silver. 


Height, 191% inches; width, 38 inches. 


No. 14 
JULES LESSORE 


VIEW OF NEW YORK (1875) 


CoNSPICUOUSLY seen is the western tower of Brooklyn Bridge, but 
without cables; more of the city and less of the bay is seen. No sky- 
scrapers have yet come to astound the visitor, hence these pictures have 


an historic interest and value. 


Height, 274% inches; width, 43 inches. 


Licgigt 


f 
Now15 


JOHANNES BOSBOOM 


15171 601 


AT COMMUNION 


In one of the side chapels of a Flemish church, whose pointed arches 
rise high aloft, a number of persons are gathered about the chancel 
rail, hung with white service cloths, to partake of the communion. 
The priest, in his robes, attended by a boy in surplice, is giving the 
bread and wine to a peasant woman in a long cloak. Beside her kneels 
aman, and, farther on, two women in black, above whose heads, on an 
elaborate bracket, stands a figure against a cross. At the left, spiral 
columns rise on either side of the altar, between which stands a dark 
crucifix above the white altar. In the foreground is the iron stand for 
the votive candles. 


Height, 1534 inches; width, 1014 inches. 


fs 


No. 17 


JOHN LA FARGE 


Sie —— 


THE SWIMMER ML? Jr the ort 


TurovucH the blue water the figure of a man is seen swimming  side- 
wise, his right arm extended, his muscular back toward us. The water 
is of deepest blue, save where it turns to foam on the crest of a wave 


that is about to break beyond the swimmer. 


Signed. 


Height, 13 inches; width, 11 inches. 


+ 


From the collection of CHarurs pe Kay, Esq. 


Qs 


No. 18 


HILAIRE GERMAIN EDGAR DEGAS 


1834— 
LOGE DES DANSEUSES 4 tags ecernger 


In a stage dressing room one of the girls of the ballet is seen arrang- 
ing her hair before a mirror. Her arms and shoulders are bare, but she 
wears a bodice of blue, across which a strong light falls. Through a 
doorway is seen a second figure in a state of half undress. 


Signed. 


Height, 61% inches; width, 9 inches. 


No. 19 


ANTON MAUVE 


1838—1888 


RETURNING FROM pasTunn ae 7 ( 


ALONG a meadow path at the edge of a wood three Holstein cows 


are being driven home at evening, by a girl wearing a blue dress and 
sabots. The woodland background of that tender gray and green, 
familiar to the lovers of modern Dutch pictures, forms an admirable 
harmony with the figure and the cattle, and expresses the artist’s mood. 
It is an exquisite example of this painter’s work. 

Signed. 


Height, 16 inches; width, 24 inches. 


Purchased from Lauriz & Co., London. 


| a SX OIL PAINTINGS 


No. 20 


WILLIAM GEDNEY BUNCE 


1840— 


BESSIE WATT’S MEADOW Berton, Mansfccen 


A. BROAD, grassy meadow, speckled with light and shade, reaches out 
from the foreground to a low ridge of earth, its outline broken by 
bushes and a clump of trees toward the left. The sky is filled with the 
splendor of the dying day, making a picture of suggestive beauty. 
With a profound love for nature, this artist possesses the technical 


equipment to realize his visions easily. 


Panel: Height, 13°% inches; width, 175% inches. 


Purchased from the Artist. 


4° 


Noa2 


CAMILLE HIPPOLYTE DELPY 
(ie 
ON THE RIVER OISE Ma Sowrdtnd 


From an inlet in the foreground strewn with rocks, from among 
which tall grass and rushes grow, the bank slopes upward to the left 
toward a great hill that rises beyond. An irregular row of slender trees 
crosses the middle distance, rising against the sky and intercepting 
the distant view. A gray sky arches above. Following in the footsteps 
of Daubigny, Delpy shows the penetrating observation and deep con- 
sciousness which are distinguishing characteristics of modern art, and 
at the same time infuses his work with much charm and mystery. 
There is freshness and ease to his execution, which knows no diffi- 


culties. 


Canvas: Height, 9% inches; width, 14°4 inches. 


ws 


No. 22 af 


CN 


FRANCOIS NICOLAS CHIFFLARD 


NYMPHS BATHING 


In a retired spot, at the edge of a wood, a group of eight nymphs are 
gathered. Some sport about in the water of a pool with a swan, others 
dry themselves in the air. Most of them are nude, and one, stand- 
ing in the centre, is robing herself. A wooded knoll rises at the back, 
and on the left the stems of three slender trees rise against the sky. 


Signed. 
Canvas: Height, 5 inches; width, 9 inches. 


Purchased from the Artist. 


vf 
? nf * NO. 23 
UF, 
FRANCOIS NICOLAS CHIFFLARD 
BACCHANALIAN REVELS CO Ltr athes— 


Tuer youthful Bacchus, drinking from a flask, is seated on a tiger, 
attended by nymphs, fauns and children, all nude. ‘They move in pro- 
cession across a meadow, led by a fair young nymph, holding aloft a 
wine cup. At the left a companion reclines, overcome, but waves to 
the procession as it passes on. It is all a Joyous rout in worship of the 
young god of pleasure. 


Signed. 


Canvas: Height, 5 inches; width, 9 inches. 


Purchased from the Artist. 


OoxD> 
C 


No. 24 


WILHELM VON GEGERFELDT 


AM Sramaemh 


THE coming of evening finds the little North German village half 


A GERMAN VILLAGE IN WINTER 


buried beneath the soft snow, which lies in heavy masses everywhere 
on ground, roofs and lumber piles. The sky is sullen with clouds, but 
a faint rising moon breaks through with the light of promise. In the 
windows lights begin to appear. Two figures, homeward bound, come 
plodding down the broken path between the picturesque houses, while 
on the left a woman is seen, who does not venture far from her own 
door. Everywhere the grip of a Northern winter is seen, expressed 
with brushwork of authority. 


Signed. Dated ’73. 
g 


lod 


Canvas: Height, 19% inches; width, 17 inches. 


No. 25 


WILLIAM M. CHASE 


1849— 


From a mass of very black hair, that falls to her shoulders, emerges 


A YOUNG EGYPTIAN 


the face of a young Egyptian girl, with the pronounced features of 
her race. The figure, which is seen to just below the shoulders, is 
clothed in a vivid red dress and appears against a background of 
another shade of red, forming a brilliant color-scheme. Mr. Chase’s 
skilful brushwork in differentiating the varied textures of flesh, hair 
and drapery, as well as the vitality of the type, at once strikes the 
spectator. 
Signed. 

Canvas: Height, 17 inches; width, ¥4 inches. 


Purchased from the Artist. 


No. 26 


FRANCOIS BONVIN 
1817—1889 
Sera ttewtes 
STILL LIFE 
In a glass goblet, half filled with liquid, are seen some pieces of fruit, 
above which rises the handle of a silver spoon. Three oranges, one of 
them opened, also bits of orange peel, lie on the table at the foot of 
the glass. These varied objects, against a deep-toned background, 
combine to form a rich and unusual color harmony. Here may be seen 
Bonvin’s delight in still life and his gift of color, by means of which 
he was able to enshroud the simplest material things with imagination 
and beauty. 


Signed. Dated 1871. 
Panel: Height, 16 inches; width, 12% inches. 


No. 27 


PROSPER MARILHAT 


1811—1847 


ON THE NILE Art Carter 


From the right the abrupt high bank of the river reaches frowningly 
to the middle of the picture, the point of the cliff crowned with a group 
of storm-twisted olive trees and a single palm. Beyond juts a second 
point of broken cliffs, also crowned with palms. Above rise the 
familiar forms of the great Pyramids. Below, at the water’s edge, a 
number of figures are seen, and one or two small, shallow boats, while 
farther away are two of the familiar Nile boats, with their long, 
sweeping sails. Over all is a brilliant Oriental sky, dramatically 
streaked with orange and red. One of the first of the French school of 
Orientalists, Marilhat, while attracted by the light and color of ‘the 
Kast, kept closer to reality than his fellows. and his pictures, though 


exact as to scene, are charged with the poetry of the Levant. 


Signed. 


Canvas: Height, 1344 inches; width, 25 inches. 


70 


‘ No. 28 


GUSTAVE COURBET 


1819—1877 


THE POACHER 


LEANING against the trunk of a great beech tree, the poacher patiently 
awaits the time when his game will come forth. He wears a dark gray 
hunting suit and Alpine hat, and bears a gun under his right arm and 
a game bag hung from his shoulder. The time is the early morning, 
and gray mists hang over the landscape beyond, where some slender 
poplars are dimly seen. Back in the seventies Courbet was regarded 
as an arch-disintegrator of all established rules in painting. His was 
a new speech which only the initiated could understand. In time he 
became better understood, and now we rank him among the great 
painters. A lover of nature, his method of expression was intense, per- 
sonal and nerve-charged. 


Signed. 


Canvas: Height, 1414 inches; width, 1034 inches. 


No. 29 


GUSTAVE COURBET 


1819—1877 


COAST SCENE Burtrrn Manafectd 


A Lone reach of rock-strewn beach stretches before us, in which the 
receding tide has left pools of water, and in the foreground three small 
boats stranded. High cliffs rise on the right and diminish in a long 
aerial perspective. The figures of several women are seen on the sands, 
gathering the mussels and sea-weed left by the tide, while beyond, 
edged with white surf’, lies the ocean, on which several sails are seen 
scudding along under a blue sky thickly strewn with clouds. It is a 
work of the finest quality of this artist. 


Signed. 


Canvas: Height, 13 inches; width, 20 inches. 


No. 30 


CHARLES FRANCOIS DAUBIGNY 


1817—1878 


LANDSCAPE Ms ys hese oe 


From a field in its summer dress of lush green, which slopes down to a 
broad stream bordered by reeds and water plants, rises a spreading 
tree. Across the middle distance stretches a mass of tangled shrubbery, 
rising to a low hill at the right, crowned with trees. The gray sky, like 
the landscape, is broadly painted, as if the artist was bent on recording 
his impression at a single sitting to preserve its freshness. 


bs 
Signed. 


Canvas: Height, 934 inches; width, 16 inches. 


No. 31 


CHARLES FRANCOIS DAUBIGNY 


1817—1878 


LANDSCAPE AU7. Meger 


From the central foreground a country roadway runs straightaway, 
being lost beyond a slight elevation in the distance. At the left rises 
a group of noble trees in full summer foliage. On either side stretch 
green meadows tufted with shrubbery, the right rising to a small hill. 
A fresh summer sky, against which a couple of birds are seen, com- 
pletes this ready transcript from nature. 


Signed. 


Canvas: Height, 1014, inches; width, 17Y inches. 


No. 82 


ANTON MULLER 


THE OLD CLOCK MENDER AO Meyer 


SEATED before his work-bench in a window alcove, an old clock-tinker, 
smoking a long-necked pipe, examines through his spectacles the 
mechanism of an ancient clock. On the bench are his tools and a couple 
of bottles, while overhead hangs a bird-cage, its occupant apparently 
enjoying the sunshine. Nearer, on the left, hangs a mirror, beneath 
which stands a high-back chair, upon which the clock-mender has” 
thrown his shawl. Seated on the floor, his terrier dog regards the exam- 
ination with deepest interest. An old trunk rests in the corner, and on 
the wall hangs a palette, with some other implements. The figure of 
the man shows fine characterization, with precise drawing and delicate 
modelling of head and hands, and the homely interior is rendered with 


honesty and sincerity. 


Signed. 


Panel: Height, 1984 inches; width, 1534 inches. 


INOwes 


WERNER SCHUCIL 


1843— 


THE RETREAT 


Across a field of brush and tangled grass comes, in full cry, directly 
toward the spectator, a band of Cossacks in retreat, led by one who, 
with upraised hand, lashes his white horse to greater speed. Alongside 
rides another, on a black horse, holding a long spear, and at the left 
another rider, who finds difficulty in keeping in his seat. Others fol- 
low at short intervals, all at breakneck pace. On a distant hill at the 
left are seen scattered horsemen in pursuit. This dramatic canvas 
conveys a wonderful sense of movement, caught from an observed 


momentary action, and fixed with certainty of technical knowledge. 


Y8 oe 
Signed. 


Canvas: Height, 194% inches; width, 2784 inches. 


ye 


ANTONIO CASANOVA Y ESTORACH 


No. 34 


184'7— 


STOLEN SWEETS SALA) nen») 


In a richly furnished library an old collector, wearing a faint green 
colored coat and knee breeches, a white wig and stockings with pumps, 
stands on a ladder so absorbed in putting his books in place on a top 
shelf that he is unmindful of the little passage of sentiment taking 
place at his back. A young soldier, in the gay uniform of dragoons, 
helping the collector’s daughter to fetch the books, seizes a favorable 
opportunity to take a kiss, to which the maid, having both arms filled 
with huge tomes, seems not averse, since she turns her face toward 
him, while keeping her eyes in the direction of her father. In their inat- 
tention a book falls to the floor, in imminent danger of crushing an 
inquisitive toy dog. The interior, the handsomely mounted globe and 
all the details of the costumes, proclaim not only the rank of the people 
portrayed, but also the ability of this follower of Fortuny. 


Signed. Dated 1883. 


Canvas: Height, 19% inches; midth, 16 inches. 


Ip AS 
No. 35 


GEORGES MICHEL 


1763—1848 


LANDSCAPE AND SHEEP—A PASSING STORM 


Tue picture furnishes a view of a wide, rolling plain, seen from a 
slight eminence. ‘The storm is passin g, and through a slight break in 
the dark cloud-masses the light falls on a grassy knoll in the fore- 
ground, where a shepherd, with his family, has coaxed together his silly 
sheep, frightened by the storm. Along the horizon streaks of light are 
seen, but the intervale lies dark under the deep shadows of the storm 
clouds. It was Michel who first saw beauty in the familiar common- 
place landscape, and pointed the way for others. The change to our 
modern landscape art did not arrive all at once, but was wrought out 


by slow process and much neglect suffered by painters. 


Canvas: Height, 23 inches; width, 281% inches. 


No. 36 


LOUIS METTLING 


134 
Sern -frite 

THE EVENING MEAL 

In a large interior, which serves the family as kitchen, dining, and 
general living room, a peasant, his wife and small boy are seen. The 
man, wearing his hat, sits at table facing the spectator, eating from a 
bowl. He stops, looks toward his wife, who stands sadly holding a jug 
in her right hand and leaning with the other on the table. The boy, 
holding something to eat in his hand, presses against his mother’s knee 
to escape the family dog, who looks up appealingly for his supper. 
A. multitude of objects is seen on every hand, furnishing the artist 
with opportunities for delightful passages of still-life painting. 


Signed. - Dated 77. 


Canvas: Height, 2514 inches; width, 31 inches. 


Purchased from the Artist. 


NO. 37 


JEAN BAPTISTE ROBIE 


1821— ; 
lau 
FLOWERS AND STILL LIFE ee Ae Vllmarn 


A mass of roses, phlox and other flowers rise from a decorated urn- 
shaped vase on a table spread with a handsome cover. Around the base 
of the vase stand a fruit dish filled with raspberries, an ivory tankard 
mounted in silver, on the top of the cover of which stands an ostrich, 
and a shell with a metal cover mounted on a standard. Strewn over the 
table-cover lie some roses and berries. Robie’s flower-pieces have won 
high rank because of their clever workmanship. They show vivacity 
and elegance, with precision of knowledge and a high order of intel- 
ligence. 'The present work is technically admirable, and one of his 
best. 


Signed. 


Panel: Height, 3414 inches; width, 25 inches. 


iF 


No. 38 


EDOUARD RICHTER 


THE NEW GOWN Souda 


In a handsome room, with rich silk hangings and panelled walls, a 
beautiful woman, with head thrown back and chest forward, moves 
across a polished floor, wearing an elaborate gown of pink silk bro- 
cade, with Watteau train and puffed sleeves. With her right hand, 
half concealed by a fall of lace, she lifts the skirt in front to show a 
white lace-trimmed petticoat, beneath which her slippered feet peep 
forth. Her dark hair is dressed high from the neck, about which she 


wears a band of black velvet. 


Signed. Dated 1873. 


Canvas: Height, 254% inches; width, 22 inches. 


g 
t 
. 


No. 39 


THEOPHILE DE BOCK 
THE EDGE OF THE FOREST ie p-PraCe 


BENEATH a clump of trees, torn and twisted by many storms, a small, 
scattered flock of sheep are grazing along an unfrequented grassy 
road, which stretches down to the foreground. A young girl, sitting 
at the foot of a tree, watches her flock and knits. The foliage, touched 
here and there with brown, the soft-falling leaves and the cool stillness 
of the day tell us the summer is on the wane. This adds a fine sug- 
gestive note, and reveals to us that the artist has enjoyed those delicate 
confidences of nature which come only by slow steps as we grasp the 
meanings of life and things. It is a scene that would have delighted 
Corot, just as it does all who love nature in her tender moods, for it is 
not merely a descriptive canvas, but a synthetic rendering of the 
emotions awakened in the artist’s mind. 


Signed. 


Canvas: Height, 38 inches; width, 55% inches. 


No. 40 


PINCKNEY MARCIUS SIMONS 
THE CHARIOT OF THE SUN ME Geo. << 


WE see a limitless landscape, embracing farms and forests, towns 
and villages, past which flows a silvery river spanned by bridges. At 
the right a white castle, with its dependencies, sits perched on the 
almost inaccessible height above the stream. Through the sky comes 
the Chariot of the Sun, in which Apollo drives his widely separated 
and rearing steeds. As he advances, the golden glory of the morn radi- 
ates over all the landscape, touching castle and stream with light, and 
dispelling the mists that hang over the world. 


Signed. 


Canvas: Height, 341% inches; width, 43% inches. 


Purchased from M. KNorpier & Co. 


cS 


No. 41 


ETIENNE PROSPER BERNE-BELLECOUR 


1838— 


THE PRISONER Lx). Meyer 


To a French country villa, which has been converted temporarily into 
army headquarters, a guard of three soldiers, in the uniform of the 
infantry, have brought a German soidier, apparently a despatch 
bearer, taken within their lines. The officers are summoned and stand 
on the entrance porch, while, half seen in the doorway, the sergeant 
in charge of the guard relates to his superiors the circumstances of the 
capture. The sentinel on the farther steps forgets his duties in listen- 
ing to the story. At the back of the grassy lawn appear the stacked 
guns of the men, while through the windows of a ruined wall is seen 
the shrubbery of what we may suppose was a lovely garden, now 
ravaged by war. The incident is told with dramatic intensity and con- 
vincing truth, and must be regarded as a page from the story of an 
historic period. 


Signed. Dated 1882. 


Canvas: Height, 39% inches; width, 26% inches. 


No. 42 


ADOLPHE MONTICELLI 


1824—1886 
LA FONTAINE Lb afzelii 


On a garden lawn, streaked with shadows from noble trees, a woman, 
handsomely dressed, stands with two children beside a garden seat. Be- 
fore her bows another woman, while a second, to the left, offers a 
flower, which she holds up. 'wo other figures are seen advancing from 
the right. In the middle distance, seen against a background of trees, 


a fountain throws up sprays of water, which flash in the sunshine. 


Panel: Height, 11 inches; width, 8% inches. 


Collection of Daniwi Corrimr, Esg., who purchased it from the Artist. 


) 
No. 43 


ADOLPHE MONTICELLI 


1824—1886 
A GARDEN PARTY Ctr tials Fetter 


AGAInst a deeply shaded background of greenery move richly dressed 
figures forming into several groups. In the foreground a woman, 
with her back toward the spectator, is engaged apparently in con- 
verse with a seated figure. On the left is seen the figure of a man in 
black, with a woman moving toward the deep boscage seen in the dis- 
tance, leaving a young woman standing alone. Extreme richness of 
color marks this work of the great fantaisiste who, upon his passing, 
left no successor. 


Signed. 
Canvas: Height, 15 inches; width, 21 inches. 


Collection of Daniet Corrizr, Esg., who purchased it from the Artist. 


nl 
® , 
No. 44 


ADOLPHE MONTICELLI 


1824—1886 


; 4.0 afA 
MATINEE DE PRINTEMPS ee » 


In a corner of a park, shaded by great trees, which permit patches of 
blue sky to be seen only at the left, a number of figures are gathered. 
Two women stand at the right, facing a man who reclines full length 
on the grass, beyond whom a woman is seen seated. ‘Two young girls . 
are sitting on the rock above her head under the branches of the tree. 
Two dogs appear on the right. The picture is one of idyllic charm and 
great beauty of color. 


Signed. 


Canvas: Height, 141% inches; width, 1034 inches. 


Collection of Dante. Cortier, Esq., who purchased it from the Artist. 


No. 45 


SIR HENRY RAEBURN 


1756—1823 


PORTRAIT OF A LADY Ab Moyen 


A youNnG matron, seen to the waist, is shown turned three-quarters 
view to the left, with eyes gazing directly at the spectator. She wears 
a white kerchief reaching to the shoulders, with a ruffle about the neck 
and front, and ending in a bow on her bosom. Above a powdered wig, 
which half covers her ears, rests a high lace cap, failing lower at the 
back, edged with a ruff and trimmed with white ribbons. From the ear 
visible hangs a diamond-shaped pendant, studded with pearls. The 


figure appears against a dark, indefinite background. 


Canvas: Height, 26 inches; width, 22 inches. 


No. 46 


JEAN BAPTISTE CAMILLE COROT 


1796—1875 


GIRL. PICKING WILD FLOWERS 


In a flower-strewn meadow, hemmed in by low hills, a girl is seen at 
the right picking some white flowers. Her head is uncovered, and she 
wears a white waist and a dark skirt. Beyond her rises the highest of 
the range of hills, tufted with shrubbery and arched by a gray sky. 


Signed. 
Canvas: Height, 9 inches; width, 13% inches. 


No. 47 


THEODORE ROUSSEAU 


1812—1867 


EDGE OF THE FOREST hae Caton 


From the margin of a pond which fills the foreground, whose surface 
reflects the deep green of the woodland, rises a group of trees whose 
thin trunks are intricately tangled. 'To the right several distinct trunks 
are seen alone, while the green wall of the densely wooded background 
intercepts further view. A luminous blue sky arches above. It is the 
work of a passionate lover of nature who constantly sought to present 
things in a large way. 


Canvas: Height, 91% inches; nidth, 7g inches. 


cf No. 48 


JULES DUPRE 


1812—1889 


CHAUMIERES PRES CAYEUX 


BENEATH a dark, stormy sky, against which the wind sways the 
branches of the trees, is seen a group of thatched-roof farm-houses 
of the familiar French type. The rain has left a shallow pool of water 
by the roadside in the foreground, beyond which a man hurries toward 
one of the cabins. The only remaining sign of life is found in some 
fowl seen down the road, gathering their evening meal. Both in color 
and composition the picture is one of strong dramatic effect, to secure 
which the painter was willing to sacrifice those unimportant details of 
execution in which the virtuoso finds delight. 


Signed. 
Canvas: Height, 2134 inches; width, 18% inches. 
Purchased from Messrs. Duranp-RveEt. 


Illustrated in La GaLterte Duranp-RueEt, No. 109. 


1) 8 
fs 


No. 49 


SCHOOL OF REMBRANDT 
lbs 5 
PORTRAIT OF A YOUNG MAN ase ‘e 


BENEATH a broad hat whose brim is fastened up with a jewel, the face 
of a slightly bearded young man looks forth, his gaze directed toward 
the left. He sits sidewise on his chair, resting his right arm on its back, 
thus showing his right hand. The dark coat which he wears, and also 
the shirt beneath, are open at the neck. Diagonally across his chest 
falls a heavy chain from the right shoulder. His long hair falls over 
his collar. His features and hand, as well as his dress, proclaim him a 
man of rank. It is a work of masterly quality, and has been attributed 
to Rembrandt himself. 


Canvas: Height, 254% inches; width, 21 inches. 


MAN 


OF A 


TRAIT 


OR 


p 


DT 


c 


REMBRAN 


‘ 


OF CHRIST 


— 


NG 


OCK. 


* 


4 
) No. 50 
GUSTAVE DORE 


1832—1883 2 big 


THE MOCKING OF CHRIST 


CLOTHED in white, with arms bound and head crowned with thorns 
which send the blood trickling across His forehead, the meek and suf- 
fering Christ calmly submits to the mocking taunts and derision of 
His persecutors, who press about Him. One aged man leans on His 
shoulder, one with bare arms resting on His knee, with clasped hands, 
looks mockingly up at Him, and a third reviler, stripped to the waist, 
has placed a reed in one of His hands, as a mimic symbol of His soy- 
ereignty. While not a great technician in the modern sense, Doré was 
aman of strong personal temperament, and gave an individual touch 
to whatever he undertook, and every canvas that he left may be re- 
garded as an imaginative and intellectual effort of his peculiar human 
intelligence. 


Signed. 
Canvas: Height, 481% inches; width, 38 inches. 


No. 51 


GERARD ALEXANDRE MOLLINGER 


1833—1867 


THE FLAX DRESSERS 


In the broad space between two large farm-buildings, with steep roofs 
of thatch, three women are engaged in dressing flax, while a fourth 
gathers it up as it falls to the ground. A man with a wheelbarrow is 
seen taking a load through the open door of the barn at the left. 
Chickens are feeding about the space, which is strewn with an old 
broom and various litter. Beyond the barns rises the back of the farm- 
house, the long slope of its roof reaching almost to the ground, and 


farther still a tree forms a striking silhouette against the luminous 
gray sky. 


Canvas: Height, 36 inches; width, 60 inches. 


No. 52 


SPANISH SCHOOL 


THE YOUNG ST. JOHN Pi ae 


SEATED in a rocky retreat above the landscape, the young saint, almost 
nude, is engaged in reading a parchment which he holds in his left — 
hand as he leans back against the rocks. His right arm, extended at his 
side, holds his ight staff and cross of reeds, about which curls a scroll. 
His knees are crossed, and about his loins is wrapped a scarf falling 
below the knees. Vines and leaves spread over the foreground, and in 
the distance, beneath a cloud-strewn sky, is seen a glimpse of rolling 
landscape. The face and form have the beauty of youth, and suggest 
that the painter may have been an associate of Murillo. 


Canvas: Height, 561% inches; width, 4014 inches. 


NO" 


| 


No. 53 


ANTOINE FRANCOIS VAN DER MEULEN 
1634—1690 


TuE battle takes place in a sheltered retreat, where the French foot- 


A BATTLE IN FLANDERS 


soldiery has been surprised by a troop of Flemish horsemen and are 
being cut to pieces in a hand-to-hand conflict. The combat is at its 
height, and the horses are trampling the fallen foes. Down the space 
between the rocks other soldiers are advancing to share the same fate. 
Above the horses the rocky hill is crowned with trees, beyond which a 
sky of moving clouds adds dramatic interest to the scene. 


Canvas: Height, 481% inches; width, 691% inches. 


ae 


No. 54 


JEAN BAPTISTE CAMILLE COROT 
1796—1875 


DANTE AND VIRGIL 


THROUGH an opening in the dark wood, Dante and Virgil move 
toward the right, Virgil, in white, with outstretched arm pointing the 
way to his companion. Dante, in long gabardine, his head covered with 
a hood, withdraws timorously from a snarling wolf that approaches 
too near. Before them a tiger crouches in their path, while beyond, 
unseen, a lion prepares to spring forth. At the left rise two tall trees 
with a sapling between, and beyond is the open landscape under a 
silvery sky, forming one of this master’s finest compositions. It was 
painted in 1830. Later he painted the larger picture now in the Boston 
Museum. 


Signed. 

Canvas: Height, 53 inches; width, 33% inches. 
Collection of DanteL Cortirr, Esq., Paris, 1868. 
Illustrated in Tue Barrizon Scuoor (D. Croat THomson). 


Shown at the Exhibition of Tur Copiey Society, 1908. 


(See Frontispiece.) 


ftz WOL3IS = (G.7) 


SECOND AND LAST EVENING’S SALE 
FRIDAY, MARCH 12, 1909 


AT MENDELSSOHN HALL 


ForTiETH STREET, East oF Broapway 


BEGINNING PROMPTLY AT 8.30 O'CLOCK 


No. 55 
Veh : 
JOHN H. TWACHTMAN 


1853—1902 


FREIGHT BOATS ON THE SEINE —Wi/ ore 


Avr a point where the river widens out, forming a small bay, two 
freight barges are moored, taking on their loads to be transported 
down the river. Beyond the bay a point of land covered with trees 
reaches out into the water, against which rises the steam from a small 
tug near the shore, also three tall poplars. The river reflects the gray 
sky, making altogether one of this artist’s most pleasing pictures. 


Signed. 


Canvas: Height, 1414 inches; width, 22 inches. 


ti 


Pic's 


No. 56 


Ve dO WILLIAM GEDNEY BUNCE 


1840— Loon ies 


EARLY MORNING—VENICE 


Tue glowing light of sunrise sheds its glory over a group of fishing 
boats with colored sails moored along the waters in front of the Public 
Gardens in Venice, doubling their reflections in the sea. The light 
touches the scene with a poetic aerial mystery that awakens a mood in 
the observer. Mr. Bunce can never be regarded as a neutral painter, 
for such a painter lacks the poetic temperament and carries no 


message. 


Panel: Height, 12% inches; width, 1614 inches. 
Purchased from the Artist. 


No. 57 


Vika | FERDINAND ROYBET 


1840— 


Cc aa 
A DWARF OF CHARLES VP. KO 4 a7) 


Wiru his left arm across the neck of a huge dog, the dwarf, dressed 
in black velvet suit and cloak trimmed with gold, and wearing a gold 
chain with ornament about his neck, and a chain about his waist sus- 
taining his sword, turns his face in profile toward the left. In his right 
hand he holds a wand, which rests on the dog. The splendid mastiff, 


with white breast and paws, gazes directly at the spectator. 


Signed. 


Canvas: Height, 9 inches; width, 64 inches. 


From the collection of Samurt Coteman, Esq., New York. 


Mp 


No. 58 


WILLIAM GEDNEY BUNCE 


1840-— 


VENETIAN FISHING BOATS 


A croup of fishing boats, with orange and red sails glowing under the 
evening sun, are reflected on the shimmering surface of the placid 
Venetian lagoon. At the left the dome and campanile of San Giorgio 
appear like a ghostly mirage on the horizon. The sky, flecked with 
drifting clouds, is filled with golden light, and a small market boat 
moored to a group of black piles furnishes the note of dark color 


needed to complete the red and gold harmony. 


Panel: Height, 1214 inches; width, 25 inches. 


Purchased from the Artist. 


2 


oe 


-No. 59 


ALBERT P. RYDER 


1847— 


THE SMUGGLERS’ COVE —U2*s(irtlon Meats fly 


AGatnsr a rocky bank overlooking the sea a sailing vessel is drawn 
up, resting on its side. High rocks rise on the left, hollowed out be- 
neath, where a habitation for the smugglers has been set up. Men are 
engaged in unloading the cargo from the boat, in which a horse stand- 
ing on the beach is employed. The sea stretches out to the horizon line 


unbroken by any visible object. 


Canvas: Height, 10 inches; width, 28 inches. 
Purchased from the Artist. 


No. 60 


ihe PAUL JEAN CLAYS 
1819—1900 
pa ioe 


BOATS ON THE SCHELDT 


On the broad clay-tinted waters of the River Scheldt floats a heavy- 
hulled merchantman, setting sail and flying the Belgian flag. Her 
flapping topsail and fluttering pennant show the rising wind. On her 
deck are seen a number of men seemingly anxious over the proximity 
of a couple of small fishing boats with sails spread that drift danger- 
ously near, as though driven by the wind. Similar craft are seen 
faintly through the haze down the river, while in the foreground a 
dory, unmindful of wind or tide, is pushing its way with its own one- 
man power across the water. The gray skies always associated with 
the Low Countries bend over the scene, and the technical skill of the 
great Belgian painter marks the work. 


Signed. 


Canvas: Height, 23% inches; width, 191% inches. 


From the collection of Brrtan Watt. 


INOm OL 


HENRY BACON 


J/0 | 1889— 


THE OPTION: ALSACE AFTER THE FRANCO-PRUS- 
SIAN WAR 


Down the picturesque street of an Alsatian town move the groups of 
émigrés, exercising the option granted the annexed provinces by 
their German conquerors after the war of ’71. A market wagon, bear- 
ing the members of a family and their luggage, stops at the village 
fountain to refresh the horses. Holding her weary children, the mother 
looks back with sadness toward the home she is leaving forever. Little 
life dramas are being enacted on all sides. At the right a youth, who is 
being urged by a comrade to go, hesitates because it means separation 
from his sweetheart. Beyond, an aged peasant, too old to take the step, 
bids farewell to a youth with his pack, and still farther up the street, 
filled with bustling crowds, another youth, joyous over the prospect 
of seeing the world beyond, waves farewell to those he is leaving. 
Through all the excitement a stolid German officer at one side looks 
on placidly smoking his pipe. 
Signed. Dated ’73. 

Canvas: Height, 39 inches; midth, 51 inches. 
Exhibited at the Paris Saton, 1873. 


From the collection of L. L. Loriruarp, Ese., New York. 


do ? 


No. 62 


WILLLIAM M. CHASE 


1849— ee Btety 


In a pink embroidered kimono, which, falling apart, reveals a black 


THE KIMONO 


dress, a young woman sits in a bamboo chair, dreaming over a half- 
closed book, whose red cover makes a note of color, on her lap. A white 
sash holds the flowing robe in place about her waist, but the wide 
sleeves reveal her bare arms. At her side stands a small bamboo easel, 
holding an open portfolio containing color prints, some of which have 
been extracted and lie on the floor at her side. A Japanese screen, 
whose diminutive figures add a touch of piquant interest, serves as a 
background. While in a very high key of color, the picture as a whole 


is very quiet, and attests the mastery of the painter over his material. 


Signed. 
Canvas: Height, 35 inches; width, 45% inches. 


Purchased from the Artist. 


LO 


‘JAN FYT 


No. 638 ~ 


1609-1661 


No. 64 


ike ANTONIO MANCINI 


THE FAN KT. -fndrene 


DreEsseED in white, with a thin white scarf falling over her shoulders 
and arms, a young dark-haired girl, seen in profile, sits idly gazing 
toward the left. Her head leans to one side, and her extended right 
hand holds a fan, which lies open on a cabinet beside her. Nearer to 
the spectator, on the seat, is the figure of a doll, fully dressed, holding 
a long peacock feather. From the filmy scarf emerges her left hand, 
with rings on her fingers. Large beads encircle her neck, and a jewel 
hangs from her ear. 


Signed, 


Canvas: Height, 30% inches; width, 2514 inches. 
5 72 A 


Purchased from the Artist. 


jos 


No. 65 


HENDRIK WILLEM MESDAG 


1831— Fla 
SCHEVENINGEN IN WINTER 


On the wide stretches of wind-blown sand, broad-beamed North Sea 
fishing boats are drawn up to preserve them from the pounding of one 
of those long-continued winter storms on the Dutch coast. The masts 
of. some are down, while on others the pennants still fly, indicating 
they will soon be afloat again. Groups of men and women, who depend 
for their livelihood upon the harvest gathered from the sea, meet here 
and there to discuss the prospects for the morrow, while a couple of 
horses stand ready for their task of drawing the boats back across the 
sands. A lowering gray sky stretches down to the horizon, the whole 
being painted with that firmness and knowledge which ever mark 
Mesdag’s work. 


Signed. 


Canvas: Height, 19 inches; width, 3084 inches. 


No. 66 


ig Ys J GEORGES MICHEL 


1763—1848 


AN OLD FARM AS entry er 


ON an eminence rising toward the left stands an old farm-house with 
thatched roof, sheltered by several spreading trees. Beyond stretches 
the meadows, across which a man and a woman are seen driving a cow 
and a calf. Another figure, in the foreground, bears a pack, and is 
making his way up the hill, followed by his dog. Masses of clouds 


move across the sky. 
Canvas: Height, 181% inches; width, 2814 inches. 


No. 67 


GEORGES MICHEL 


Viz J. JO 1763—1848 pth 
A RIFT IN THE STORM CLOUDS 


THROUGH an opening in a woodland a road from the foreground 
curves toward the left, turning about a knoll on which stand three | 
trees and some low bushes about a fence. In the road is a man, followed | 
by two dogs. On the farther side of the road rise clusters of trees 
twisted by the storms. Through the centre of a dark, threatening sky 
the clouds break apart and allow the light to come through. It touches 
the trees so that they seem to sparkle in the wind, and falls on the road- 
way, making it seem a pathway of gold. Few of this artist’s pictures 
afford a finer contrast in light and shade. 


Canvas: Height, 284 inches; width, 39% inches. 


No. 68 


Ma ris a ALBERT P. RYDER | 
~ 184.7— 
pe ¥ Khe arn | 
THE BRIDGE Ye hs. 
. WAnnrdy1Annr~ 


From a group of buildings gathered on a slope at the left runs a high 


bridge of many arches across the valley to a higher hill on the right. 
Some trees spread their branches in the centre, while others of smaller 
growth are seen on the slope at the left. Beyond the brow of the hill at 
the right is seen the top of the dome of some structure lying beyond. 
A strong light of sunset fills the sky behind the bridge, shining 
through the arches. 

Canvas: Height, 9Vg inches; width, 267g inches. 


Purchased from the Artist. 


jee? 


No. 69 


THEODULE, RIBOT. 


1923-607 a . pea 


AN ITALIAN PEASANT GIRL 


Wearine the peasant dress of Italy and a white kerd i 
a dark-eyed maid sits on a rude bench, resting a mo’ 


stand a platter and Aagon, 


Signed. 


No. 70 


ee MEVTLING 3 
je 1847— x ce 


LE PNA 


and a ie Ole books, ne bra: 
and a number of articles. Other ob jects are seen on ae ) 
at her back, and beyond her, at the none of the ne is 


group of still life. 


Signed. Dated "TA, 


nde cen 


SrA Bete TT ed 


No. 71 ae a 


mn ies ILLIAM EYTY 
see ee a! ~ 


1787—1849 


THE EVENING STAR : MW 


STANDING in her flower-decked car, Venus, the Evening Sta 
her span of doves across the cloud-paved courts of Heaven 
head-plate keeps her hair in place, above which floats a ‘sti 
rose-colored drapery floats free from her shoulder, reveal 
figure, and giving the artist ample opportunity to sho 
flesh painting. It is a graceful fancy ably carried out, ar 
tator is conscious of the painter’s strongly marked He 
which sentiment is a dominating force. 


Canvas: H eight, asl, inches; nidth, 


N0s272 


WILLIAM ETTY | a 
' 1787—1849 * q 
CGlitertec Do Ae 


WiutH one arm about her waist and the other holding her upraised arm, 
the muscular, swarthy, half-nude corsair bears his victim off to some fe of 
retreat in the forest, seen in the background. She, nude to the waist, a 
with her hair flowing free, struggles in vain against her captor. Ktty 3 2 
was a follower of the Romantic movement in art-—that awakening | 
which stirred the progressive artists of the first half of the nineteenth 
century—the men who sought to break away from the exaggerated — i 
conventionality and artificiality of classic painting. Byron gave the = 
movement exuberant development by his Romantic poems of “ Childe 
Harold,” “The Giaour,” “ The Corsair” and “ Lara,” which became: 


widely popular and supplied many themes for Romantic painters. 


THE CORSAIR 


¢ 


Canvas: Height, 2734 inches; width, 21 inches. 


No. 73 


ALBERT P. RYDER 


1847— 
THE CURFEW HOUR Mihi fr ton Matin 


Two peasants’ cottages rise on a lonely moor lying in deep sade 
The sun is setting behind a distant hill, and down the road in the for 
ground a cow wanders homeward. The last rays of the sun touch the | 


cottage fronts, the cow’s back, the ragged stone wall and the man who- 
labors in the field. Over all brood deep, mysterious shadows, sounding: 
the depths of nature in a minor key. ; 


Signed, 


Canvas: Height, 7% inches; width, 10 inches. 3 4 
Purchased from the Artist. ; Sie 


No. 74 


IVAN POKITONOW (C4 Pilamc 


THE OUTSKIRTS OF A FRENCH VILLAGE 


Across a stretch of broken country we see a village and, beyond, the 
roof and spire of its church. A few thin trees mark the boundary of 
the road, reaching down to the left, in which the recent rain has left a 
shallow pool. Down the road a man is seen moving toward the village. 
At the right a small stream circles through the landscape. This Paris- 
ian-Polish painter has been termed the Meissonier of landscape art, 
for he brings to his minute transcripts of nature the same breadth of 
vision and capacity for detail that Meissonier put into his figure 
subjects. 


Signed. 


Panel: Height, 5 inches; width, 10% inches. 


-_ a LS SC ‘ 


pi 


fisherman’s cabin. On the left a boat has cast anchor, 


| ‘No. Vn nes Rea: 
ALBERT P. RYDER 


18 ae : 


SHORE SCENE 


1 


IN the shelter of a long, low hill, that extends from the 1 
wet sands a woman and a man, with baskets on their 


‘panied by a dog, are making their way toward the hous 
filled with evening light, and a peaceful calm rests on the si 


Purchased from the Artist. 


No. 76 


plier . ALBERT P. RYDER" | am 
aed ae - LF, 


MOONRISE_ 


SomE sheep lie peacefully in the foreground, their backs 
the light which fills the sky at moonrise. At the right ar 
beyond which rises a tree, and on the left a second tree 
branches against the golden sky, from which the great 


moon is just rising above the horizon, leaving her glo 
object. ag 
Gurded ; a 

Canvas: Height, 81% inches; width, 
Purchased from the Artist by Cortimr & Co. 1E > | a 
Sold in the R. T. Hamiuron Bruce Sate, London, 1903, and purchased 


ae ; Jeo qed fmnk 


phe 


No. 77 


JAMES McNEILL WHISTLER 


1834—1903 


A STUDY IN BLACK 


AGAINST a misty black background is seen the full-length figure of a 
young woman standing with hands clasped before her. She is clothed 
in a black dress, which rises high on her neck, finished with a narrow 
white collar. Her hair, parted at the side, is held in place at the back by 
a comb, which is seen above her head. What Whistler strove for was 
not to make his figures “ stand out from the frame,” but, on the con- 
trary, to keep them within the frame, and at a depth equal to the 
distance at which the painter sees his model. “ The frame,” he said, “ is 
the window through which the painter looks at his model, and nothing 
could be more offensively inartistic than this brutal attempt to thrust 


> 


the model on the hitherside of this window.’ 


Canvas: Height, 16 inches; midth, 12V inches. 


Gee? 


No. 78 


GIOVANNI BATTISTA TIEPOI 
- 1696—1770 i, 


ST“ ROCHE AME hee 


SEATED on an upper balcony, the figure or aman is seen tu 
left. Weary with his pilgrimage, he leans his head again t 
wall. In pilgrim dress, his knees bare, his scarf loosely wra 
him, and his hat hanging on his back, he holds some fruit 1 
dear! on pic ae has eaten, while nk en presse a sare 


ie 


No. 79 


FERDINAND ROY BET 
eae 
RETURN FROM THE CHASE “as 


Ix a sheltered place two horsemen meet and engage in ¢ c 
One, in uh Fores round: booted and spurred, rides a horses 


between two Ne eres which he holds in leash. Haste stretches 
scape under a gray clouded sky. 


Signed. 


he: 


No. 80 ia * 


ADOLPHE MONTI CELLI 


1824—1 886 


THE ABDUCTION | Bt a 


To a wild mountain gorge, whose cliffs rise high on € 


a glimpse of the sky, against which, high up on the left, 
While all of Monticelli’s productions are of the studio, r. Yr 
life, ue Bercus wonder f suerte dreams of color. ee hil 


vision. 


Panel: H. eight, 1514 inches : width, 


From the collection of Danini Corrizr, Esq., who purchased it from the 


yon 


LANDSCAPE, WITH PIGURES. 


No. 81 


ADOLPHE mee 


1824—1886 hy 


patents is an unas dream of ii 


Signed. 


No. 82. 


ADOLPHE MONTICE 
ye hs te > apeweeaaegs | 


be CLATRIERE 


sit, and all are richly nat Beyond the shrub 
sky one the harmony of the picture. 


= 


2 Canaa Haigh 141% inches 


Signed. 


From. ie collection as Dantex Corn, Esq., who purchased it 


2 S at. 
No. 88 


ADOLPHE MON'TICELLI 


foe | : aa Be 1824—1886_ 


the foot of a tree on the left is a goat. The branches of 
sparkle with light from a sunset sky. 


Signed. : ; 
Canvas: Height, 2334 inches; widt 
From the collection of Daniext Corrine, Esa., who purchased it fro 


Fixe > he 


je 


No. 84 


MATHIAS MARIS—MONTICELLI 


If tae Keg 


IN THE WOOD 


A LADY on a white horse, attended by a knight, also mounted, coming 
along a woodland road, meets two richly dressed women walking, ac- 
companied by two dogs. The dark woodland background is pierced 
here and there by the hght from afar. This and the following picture 
are the joint works of the two artists. Presumably the composition is 
by Monticelli, taken in hand later by Mathias Maris, who carried it to 
completion in the spirit of painting which has made his pictures 


famous. 


Signed, 
Canvas: Height, 14 inches; width, 21 inches. 


Purchased from Maruias Maris. 


jy? 


No. 85 


MATHIAS MARIS—MONTICELLI — 
IN THE GARDEN es te 2 a 


In the shadow of deep summer foliage three richly 
standing near a column and bef. ore a garden seat, are en 


mated conversation. Two setter dogs at their feet seer 
spectators. Like the preceding number, this is the sei ti 
two artists jointly. 


Signed. 


Purchased from Maruias Marts. 


jes 


No. 86 


JEAN FRANCISQUE RAFFAELLI 
1845—— = 
MW? [ae tffer— 


UNLOADING THE BOAT 


A wuHIteE horse stands patiently in the foreground, waiting until his 
load is complete. The chains of his harness, by which he is joined 
to the mate whose head only is seen, hang slack. Beyond, a huge 
freighter rests, its masts and tangled rigging etched against the sky. 
Along a footway of planks a laborer, with load on his shoulders, 


passes, and beyond, out in the stream, lie other boats. 


Signed. 


Canvas: Height, 18 inches; width, 18 inches. 


From the collection of Wiit1am M. CHase. 


No. 87 


| faye eee EvabNn. FROMENTIN- 


18201876 ee ais 


IN -ALGIERS—CAMELS 


the pone while ice companions “stand An Arab, dros 
with white burnouse a ee from his head, stands by. 


Signed mith initials. 
te Panel: Height, 11 Bi: mith, 


Frove the collection of Daniext Corrirr, Eso., OS 1892. " 


ge 


No. 88 


ALEXANDRE GABRIEL DEC. \ 


~ 1803—1860 


A GOATHERD AND HIS DOG 


Ona eae eminence elOORe a wide een of hilly | 
a goatherd resting. He wears the simple costume of the 


knee, and his water jug hangs at his side. Beside him lies his: 
several goats are seen grazing about the rocks. The la 
with a ridge of distant mountains. 


Signed. Dated 1843. . 


jo 


No. 89 


EDOUARD JEAN BAPTISTE DETAILLE 


1848— Bae IES = 
FRENCH HUSSARS 


Moun'tED on a prancing gray horse, a young officer of Hussars, in 
full uniform and fully accoutred, advances in review. With his left 
hand he keeps his horse in check, while his right holds his drawn sword 
in position. Beyond appears the regiment going through its mdnoeu- 
vres, in which a small dog takes active part. Detaille is a virtuoso 
whose figures always show vivacity and action. His artistry here as 
always is of the most remarkable kind, and he charms by his elegance 
and by the ease with which he overcomes all technical difficulties. 


Signed. Dated 1879. 
Canvas: Height, 1844 inches; nidth, 1544 inches. 


— 


From the collection of the late GENERAL S. THoMas. 


ee 


No. 90 


GUSTAVE COURBET 


1819—1877. SW Ocak 
THE WAVE 


IF’rom a far-reaching turbulent sea rolls the compact liquid wall, rising 
to its full height in the foreground, the volute held in suspense an in- 
stant, then curling over its white crest to break in seething foam on 
the pebbly beach. The artist aimed to give the moving line of this wave 
and to convey the impression of mass and weight. The tumult: of the 
sea is repeated in the sky with its heavy clouds, thereby creating 
the thought of unity of movement. Courbet exercised great influence 
over Whistler. They spent several summers together at Trouville, 
painting the sea as seen from the shore, and while engaged on the 
same task, each showed his own personal development. 


Signed. 


Canvas: Height, 214% inches; width, 29 inches. 


No. 91 


VEE THOMAS COUTURE | 
1is—1019 + OL Maole< $a Cee 


A MEMBER OF THE GUARD 


CLOTHED in the uniform of Chasseurs—a red coat, faced with white, 
and red epaulettes—this finely modelled head of a handsome young 
Frenchman makes his appeal to us because of his soldierly bearing. 
His well-formed features, deeply shaded by his black chapeau, with 
cock’s feathers, show him to be above the peasant class. He wears a 
youthful mustache and imperial, and his eyes, cast upward, give a 
romantic interest to the head. There is the firm, even vigorous, appli- 
cation of color and richness of tone which marked Couture’s technical 


processes and won him the admiration of artists everywhere. 


Signed, T. C. 
Canvas: Height, 20 inches; width, 16 inches. 


From the collection of Danie. Cortizr, Esq., Paris, 1892. 


at 


ir, 


Ae eee ‘, No. 92 


ipa = CONSTANT. TROYON 
Cis 18101865 ( 


CATTLE ox ee ‘aoa 


this master. 


Canvas: Height, 18 inches; 


No. 93 


TPES THEODORE ROUSSEAU 


1812—1867 ee 


THE CHURCH IN THE VALLEY 


Across the foreground lies a broad meadow, separated from the road- 
way, which leads down to the valley, by a broad hedge. At the right of 
the meadow stands a cluster of fine trees, cutting off the view beyond. 
At the end of the trees rises the pointed bell tower of the church and, 
nearer to the spectator, a dwelling house. Other houses are lost among 
the trees at the left. Beyond we see the further upward slope of the 
valley, the horizon line being fringed with trees. 


Signed. 


Canvas: Height, 834 inches; width, 14 inches. 


— 


ie 


No. 94 


THEODORE ROUSSEAU 


1812—1867 Ant[r J Met 


THE POND 


In a forest of great trees is seen a pond which mirrors the woodland 
greenery. Through the spaces between the trees an open stretch of 
meadow is visible, flooded with light at evening. Deep shadows lurk in 
the thicket of tangled stem and branch on either hand, and everywhere 
the mystery and repose of the great forest is felt. 


Signed. 
Canvas: Height, 18% inches; width, 231% inches. 


From the collection of Danie. Cortizr, Esg., Paris, 1892. 


FSC 


No. 95 


THEODORE ROUSSEAU | 

: - 1812—1867 ie 
IN THE PYRENEES 
STANDING on an eminence, with a deep gorge at our fee aie 
only the tops of the trees are seen, we look across a 
broken peaks, ridge after ridge, to a line of great mount 
the far-off horizon. Trees stand in the valleys, and here 
small lakes are seen, but no habitation of man. | 


Signed. : | Be. 
Canvas: Height, 13% inches ; width, 16Y, 
aa a 


No. 96 


CHARLES FRANCOIS DAUBIGNY 


L050 1817—1878 ; 
ON THE RIVER BELOW DORDRECHT 


In the foreground the river, which becomes sluggish as it nears the 
sea, drifts past the numerous windmills that rise above the houses 
along the shore. Two of these mills, with their wings spread, loom 
ominously dark against the sky in the centre of the picture. Along the 
waterfront numerous piles appear as a fringe to the shore. At the — 
right two market boats are moored, their sails down, awaiting orders. 
Bits of foliage break the horizon line, enlivening the whole by their 


color. A pearly sky covers the entire scene. 


Signed. 


Canvas: Height, 1814 inches; width, 32 inches. 


fOLE 


No. 97 


CHARLES FRANCOIS DAUBIGNY 


1817—1878 Seng f ae 


THE OCEAN 


Unpber a clouded sky, across an immeasurable distance, the gray sea 
stretches to the horizon, dotted with ships that appear as mere specks. 
In the foreground the waves are touched with white foam as their 
volutes break, only to be succeeded by others, while a flock of gulls 
spread their wings in flight. Throughout, the artist was not so much 
interested in trying to render the literalness of detail as in conveying 
to the mind his impression of the scene, its sublimity, its immensity and 
the resulting emotion. By the elimination of detail he opens a door to 
a world of meditation and of dreams. We are here in the presence 
of one of this master’s greatest works. 


Signed. Dated 1876. 
Canvas: Height, 41% inches; width, 8114 inches. 


From the collection of Danie Corrimr, Esg., Paris, 1892. 


Je 


No. 98 


JULES JOSEPH LEFEBV RE 
1834—1881 Mtlnk ptfe LL, : 
THE LANGUAGE OF THE FAN 


WEARING a red dress, figured with white, across which, about the 
waist, is drawn a broad red Japanese silk scarf, embroidered with 
white, a dark-eyed young woman stands on a garden balcony, gazing 
directly toward the spectator. With her right hand she holds a red open | 
fan to her lips, while her left, turned at the wrist, rests on her hip. A 
red kimono, gathered loosely over the shoulders, is pushed back at the 
waist and falls behind. In her hair, twisted high on her head and 
crimped about her forehead, are ornaments and white flowers. She 
leans against a wall of wood, while beyond the balcony rail are seen 
masses of dogwood flowers. There is no uncertain drawing, no care- 
lessly rendered textures, but the portrayal of the head, the hands and 
the brilliant drapery shows accuracy of observation. 


Signed. 


Canvas: Height, 514/4, inches; width, 35% inches. 


No. 99 


Wie 57: JEAN LOUIS THEODORE GERICAULT 


me he —- 


STANDING in line fronting us are seen seven spirited horses, alternat- 


STUDY OF HORSES 


ing white and dark in color, while the afterpart of another is seen at 
the left. In making his study only the heads and fore parts of the 
animals were carried out, but into it he has put the spirit of the animals 


with great variety of attitude and expression. 


Canvas: Height, 16% inches; width, 30 inches. 


From the collection of Van Prarv. 


VL ® 


No. 100 


FRANCOIS BONVIN 
1817—1889 KIN, he L 
IN THE CONVENT 


SEATED in the spacious tile-paved kitchen of a convent, a placid-faced 
nun, wearing the garb of her order and a large crucifix upon her 
breast, knits diligently during the hours of her watch, while her mind 
ranges over other things. An expansive white apron protects her dress, 
and also helps the artist to form his pleasing color scheme. On the 
table at her side stand a pewter tray and flagon—a bit of stil life 
painted in a way to delight the eye. At the back a nun in the dress of 
a menial draws water from a large copper water urn, equally well 
painted, while at an open door another sister is seen standing, looking 
into the dormitory beyond, with its row of curtained beds. 


Signed. Dated 1868. 


Canvas: Height, 1614 inches; width, 11% inches. 


No. 101 


FRANCOIS BONVIN 


ASSES 1817—1889 — 


THE HOUSEMAID 


In a brick-paved hall leading to the kitchen, a housemaid, wearing a 
red dress and bodice cut away to show the sleeves and bosom of a white 
undergarment, her feet in sabots and a white cap on her head, draws 
water from a large copper water-urn, supported on a staunchly built 
stool. The water runs from a faucet into a shining brass kettle, which, 
like the face, hands and arms of the maid, is touched with the strong 
light falling through a window at the left. Through an open door at 
the back we catch a glimpse of the kitchen, where a brass tea-kettle on 
the stove sends forth puffs of steam as it Joyously sings in the brilliant 


sunshine. 


Signed. Dated 1867. 
Canvas: Height, 151 inches; width, 11% inches. 
Purchased from M. KNorpiEer & Co., New York. Gt. L )- IG 9 1-FaAAasKx 
MKOGL/=— 


fober 


ras ti kia No. 102 


SIR J OHN EVERETT MILLAIS 
1829—1896 MAge gle ety 
LITTLE MRS. GAMP 


SEATED in a garden, wearing a fur cape and muff, her hat falling over 
her brow, the little sitter’s large eyes gaze directly toward the spec- 
tator. Curls fall about her ears, and her toes peep from under her dress. 
Her unfashionable umbrella lies folded beside her, and the back- 
ground shows a thick growth of ferns and flowers. The charm of the 
picture lies in the fact that the little sitter is just herself, perfectly 
child-like and absolutely natural. It was one of the artist’s most suc- 
cessful children’s pictures, and was painted in 1881. 


Signed in monogram. 


Canvas: Height, 44 inches; width, 32 inches. 


From the collection of Tur Lonnon Grapuic. 


Gr tebtid ah banmeger elit: Citaeseg 19084 #06 ~ 


No. 103 


I ZZ. y) NICHOLAS MAES 
1632—1696 Sng ene pl anager 


THE SATYR AND THE PEASANTS FAMILY 


THis picture is taken from /A“sop’s fable, “ Blow hot, blow cold.” 
While the peasant’s family are seated about the table for their even- 
ing meal, they are surprised by their strange visitor, who sits down to 
eat soup with them. Seated at the left, he tells his story, which is lis- 
tened to attentively by the peasant and his wife, who sits beyond, hold- 
ing a baby. The peasant wears his fur cap, and the wife appears in 
white cap and kerchief. T'wo other children are seen—a boy, wearing 
his hat, sitting at the right of the table, and a little girl, in cap, at her 
father’s knee. In the dusky background hangs a bird-cage, and in the 


foreground a group of still-life objects. 


Canvas: Height, 20 inches; width, 25 inches. 


No. 104 


J 100 SIR JOHN EVERETT MILLAIS 


1829—1896 Sarrph rence 


PORTRAIT OF MRS. HEUGH 


Wearing a black silk dress and black velvet coat the old lady sits in a 
comfortable green-covered chair, over the back of which is spread a 
white tidy. Her hands are folded on her lap, and in her eyes is a far-off 
look, as though dreaming of her youth. Her hair falls low over her 
temples, and is covered with a white lace cap, whose broad frills spread 
out over her shoulders. A gray paroquet sits perched on top of his 
cage at the right, apparently in the same contemplative mood. The | 
portrait of this Welsh lady, with face and hands wrinkled with age, is 


a consummately able performance. 


Signed with monogram. Dated 1872. 
Canvas: Height, 47 inches; width, 4034 inches. 
Exhibited at the Royau Acapremy, 1873. 


Mentioned in Lirr anv Lerrers or Sir Joun E. Mixtats. 


Shalit ab Ue Burlap Hoauro 1898 £944 Cum v fame Qnoch bag, 


ALS MRS. HEUGE 


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- A a ee neve ede i 
« R War my ra 5) 
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fr 


No. 105 


SIR GODFREY KNELLER 


1646—1723 lc tectloe Selleues 


THE SISTERS LADY RANELAGH 
AND LADY BRERETON 


On the left Lady Ranelagh, seated, is seen in three-quarters view. She 
wears a dress of brown silk, low in the neck, with full sleeve slashed, 
showing white underneath. Her hands rest on her lap. Lady Brereton, 
on the right, is seen front view, seated, wearing a low-cut dress of dark 
green, laced in front. The hair falls in curls about the neck, and both 
wear pearl pendants in the ears. Between them a young cupid, in red 
drapery, crowned with flowers, places a mass of flowers on Lady 
Brereton’s lap. A curtain background is pulled aside, showing a dis- 
tant landscape. An inscription on the canvas reads “ Lady Ranelagh, 
first wife of Richard, Karl of Ranelagh, and her sister, wife of Lord 


Brereton.” 


Canvas: Height, 50 inches; width, 57 inches. 


No. 106 


JACOB VAN RUYSDAEL 


fat0o 1625—1682 Reon 


A WATERFALL 


Over a cascade of rocks the water comes tumbling down, breaking 
into foam, then spreading out into a broad stream in the foreground. 
Uprooted trees and broken branches are seen at the left, brought by 
some freshet of the past. In the middie distance a bridge spans the 
stream, on which a man is seen passing, almost lost in the deep shadows 
of the fir trees above. Still farther to the left other figures are seen. 
At the right, crowning the inaccessible height, is a castle outlined 


against the blue sky, mottled with white clouds. 


Signed. 


Canvas: Height, 40% inches; width, 33 inches. 


JACOB VAN RUYSDAEL A WATERFALL 


is ' ca 

e = iz Ps) a 
: ; 

i 


* epee 


ETIAN SENATOR 


2m 
, . 


E 
| BY 
JACOPO ROBUSTI 


ree iad ee ‘ 


No. 107 


JACOPO ROBUSTI (cattep TINTORETTO) 


fos a 


A VENETIAN SENATOR 


Tus distinguished half-length portrait shows the Senator standing, 
turned three-quarters view, gazing directly at the spectator. He wears 
a rich red velvet robe, the front and flowing sleeves edged with fur. 
His hair is short, and a long white beard falls to his chest. His right 
hand touches his thigh, and the left holds a fold of his robe in front. 
Of dignified bearing, he appears to be a man of sixty, in full vigor. 
An inscription at the right tells us he was a Senator of Venice. The 
frame is of antique carved wood. 


Canvas: Height, 38 inches; nidth, 30% inches. 


From the collection of F. R. Leyitanp, Esa., London, 1892. 


7 G.L00 


No. 108 


ANGIOLO ALLORI (cattep BRONZINO) 
1502—1572 0 taka ten 


DONNA GIOVANNINA CHEVARA, WIFE OF DON AN- 
TONIO RAMIREZ DI MONTALVO, AND HER SON 


THis Spanish lady is seen seated, almost front view, gazing directly 
toward the spectator, while her child stands at her side, with both arms 
on the arm of her chair. The mother is clothed in a rich, dark dress of 
figured brown and black, opening on a red skirt, and having a wide, 
flaring collar, which discloses a white gathered ruff, from which three 
silken cords hang down on either side. At the point from which the 
collar opens an elaborate jewelled ornament hangs on her bosom. 
From her waist hangs a chatelaine. On her finely shaped hands are 
jewelled rings. Jewels also are worn in her ears and across the top of 
the head-dress, while a string of pearls encircles her throat. 


Signed on back D’ANnaiot Bronzino. 
Old panel: Height, 40% inches; width, 321, inches. 


Purchased from the family in Florence by Messrs. Sutty & Co., London, from whom 
it was acquired by the late James S. INGuts. 


No. 109 


FRANCESCO MAZZUOLI 


(cALLED PARMIGIANO) . 
1504—1540 Mh bivred bc Co 


PORTRAIT OF ISABELLA DESTE, MARCHIONESS 
OF MANTUA 


THe lady is shown seated, three-quarters length, looking directly 
toward the spectator. Her dress of elaborately interlaced bands of 
dark velvet, showing an underdress of rose color, has very large puffed 
sleeves. Above the low bodice a white undergarment, embroidered with 
red, is seen, open wide at the neck. On her head is a wide turban, richly 
ornamented, worn back to show her hair in short curls. About her neck 
is a long chain, in her ears are pearls, and on her hands, resting on the 
arms of the chair, are rings. Through an opening at the back is seen a 
handmaid lifting a curtain to admit three peasant women to an audi- 
ence to this wonderful lady. 


Canvas: Height, 45Y inches; width, 36 inches. 


Purchased on the endorsement of Dr. Bovr, Director of the Berlin Gallery, from the 
Deus Rovere family, who are descended from the D’Estrs, by Messrs. SULLY 
& Co., London, from whom it was purchased by the late James S. INGits. 


ai 


NO, Lt 


NARCISSE VIRGILE DIAZ DE LA PENA 


1809—1860 ME, Men tigtor 


A GIRL AND HER DOG 


BESIDE a great vase of flowers, resting on a high square pedestal, 
stands a fair-haired girl gazing forth at the spectator. She wears a 
rose-colored gown cut low in the neck, and her long hair is braided with 
strings of pearls. She reaches forth to touch her dog, who playfully 
jumps up to her. At her back rises a tree, beneath the branches of 
which we catch a glimpse of a wide-reaching landscape. It is an ex- 
ceptional example of the brilliant Franco-Spanish painter, since it 


shows him in a triple field—as landscape, figure and flower painter. 


# 
Signed. 


Canvas: Height, 80 inches; width, 48 inches. 


From the collection of Count Comonpo, Paris, 1893. 


fp 


No. 112 


TONY OFFERMANS 
1845— ee G. Thefheedk 


A DUTCH CATTLE MARKET 


In the broad market-place of the city of Leyden is gathered a great 
crowd of men and a few women to bargain for the cattle which the 
farmers offer. In the foreground a trade is being made between two 
men for the animal which one of them leads by a rope. At the right 
two women are earnestly engaged in conversation with a man. The 
cattle here and there look wonderingly on the scene and seem to feel 
themselves out of place. Two leafless trees rise at the left, and lines of 
prosperous-looking houses outline the square. True to the traditions 
of Dutch painting, the picture shows accuracy of observation, truthful 


color and marked talent for characterization. 


Yi */ 
Signed. 


Canvas: Height, 4914 inches; width, 961 inches. 


PRINT GAN FRR I 
FEES NG 


MNO. Lis 


ADOLPHE MONTICELLI 


1824—1886 keory: re Mearn, 


THE TRIUMPH OF FLORA 


HicuH up on her car Flora sits surrounded by her attendants, while a 
young love, the genius of the season, lying on a bed of roses, is up- 
borne by a troop of young loves. A long procession follows, in the 
front rank of which is a young girl, bearing a tray of flowers on her 
head, while a dog full of life skips forward with delight. The work is 
marked by almost classic grace and accuracy, in striking contrast to 
other works from his brush. 


Canvas: Height, 136 inches; nidth, 127 inches. 


Purchased from the Artist. 


HOUSE DECORATIONS 
= INCLUDING 
PORCELAINS, BRONZES, E'IC. 


Y, 


FIRST AFTERNOON’S SALE 
THURSDAY, MARCH lirn, 1909 
AT THE AMERICAN ART GALLERIES 


BEGINNING PROMPTLY AT 3 O’CLOCK 


ROMAN AND IRIDESCENT GLASS 


1—Six Specimens oF Roman Gtuass 


Tear bottles with silver and gold iridescence. 


9—Six SPECIMENS oF Roman GLASS 


Tear bottles of various shapes and with brilliant iridescence. 


38—F ive SrecIMENS oF Roman GLaAss 


Tear bottles of various shapes and with silver iridescence. 


4—Four Specimens or Iripescent Roman Guass 
Consisting of two tear bottles, one blue glass bottle and an interesting 
small jar, with cord-like decoration. 


5—F ive Specimens oF Roman Gtass 
Consisting of four tear bottles of iridescent lustre and a smal] cup with 
relief ornaments. 


6—F ive SrecIMENS oF Roman GLASS 


Consisting of small bottles of various shapes with iridescent lustre. 


7—TureEE Specimens oF Roman Gtass 
Consisting of tall tear bottle of silver and green iridescence, a small jar 
with very fine lustre and filigree silver band and a small vase with golden 


brown and green lustre. 


8—THREE SPECIMENS OF Roman G1Lass 


Consisting of a small pitcher of silver iridescence, a tear bottle with 
green lustre and a tall tear bottle with gold and green incrustation. 


9—THREE SPECIMENS OF Roman GULAss 


Consisting of a tear bottle with silver and green lustre and two tall bot- 
tles with golden and green lustre. 


10—Roman Guass: ARYBALLOS 


Globular-shaped, covered with a brilliant iridescent lustre. 


11—T'wo Roman Guass Bow13s 


One of green texture, the other covered with a silver lustre. 


12—-Two Roman Guass Bowts 


Both specimens covered with brilliant green and silver lustre. 


18—Two Roman Guass Botrries 


With iridescent lustre. 


PERSIAN AND HISPANO-MORESQUE FAIENCE 


14—Perrsian PuLateE 
Blue and white. In the centre a gazelle among flowers. Wide border of 
birds, flowers and scrolls in blue on ivory white ground. Konbachs—fif- 
teenth century. 


Diameter, 14 inches. 
15—Perrstan PLate 
Elaborate decoration of birds, flowers and trees in deep blue on ground 
of ivory white. Konbachs—fifteenth century. 
Diameter, 131% inches. 
16—Damascus Puiate 
Centre decoration of grapes and vines in brilliant blue on ivory white. 
Borders of floral and vine patterns. Sixteenth century. 


Diameter, 144, inches. 


17—Persian Puate 


Tall flowers and stalks in soft polychrome coloring on ground of ivory 
white. Border of diaper pattern in similar colors. Konbachs—fifteenth 
century. 

Diameter, 131%, inches. 


18—Hispano-Moresaque Prater 
Boss in centre surrounded by band of scroll patterns in pale gold lustre 
on ivory ground. Wide border shows leaf designs in lustre and in blues 
in relief. Pale crimson and violet reflections. Fifteenth century. 


Diameter, 16 inches. 


& 


19—Hispano-MoresauE Puate 
In the centre a design of leaves and flower forms in copper lustre. Border 


of flowers in lustre. Seventeenth century. 
Diameter, 16 inches. 


20—Tatt Roxxa Jar 
With four handles, ornamented with festoon and rosettes in relief at 
shoulder. Turquoise blue glaze. Completely covered with silvery iri- 


descence. Eighth century. 
Height, 19 inches. 


21—Roxka Jar 
Deep greenish blue glaze, heavily encrusted with bronze and silver irides- 


cence, showing crimson reflections. Eighth century. 
Height, 91 inches. 


GREEK POTTERY 


22—TuHreE SPECIMENS oF GreEK PoTTERY 
(4) Lekythos with one handle and incised decoration. Archaic period. 
(B) Lekythos from Athens, white body and black decoration. 


(C) Etruscan Lekythos, black decoration on terra-cotta ground. 


23—THREE SPECIMENS OF GREEK PoTTERY 
(4) Lekythos, winged female figure bearing a salver. Incised borders. 
(B) Lekythos, draped female seated and holding musical instruments 
and scroll designs in brown on black ground. 
(C) Aryballos, incised decoration on black ground. 


24—Two Specimens oF Greek Porrery 
(4) Etruscan Oinochoe, white decoration on black ground. 
(B) Etruscan Oinochoe, nude winged female, seated holding a basket of 


fruit and scroll designs in brown on black ground. 


25—GRrReEEK PotTtTEery OINOCHOE 
Female figure seated, holding a mirror in her left and a basket of fruit in 
her right hand, in brown on a black ground. 


26—Two Erruscan OrnocHor 
(A) Black ground with incised border 
(B) Black ground, with head of poet adorned with a wreath in red and 
white. 


9%—GRECIAN ARYBALLOS 


Asiatic style; found in Rhodes. 
Decoration in brown and red of harpy and a duck. 


98—Two SprEcIMENS OF GREEK POTTERY 


(4) Etruscan amphora with two handles. . Coated with a brilliant black 
glaze. 


( B) Oinochoe, female head and scrolls in brown on a black ground. 


29—Erruscan AMPHORA 


With two handles, brown decoration of draped female carrying a basket 
of flowers, and on reverse a female head and scrolls on a black ground. 


30—Erruscan OINocHOE 
Black ground with nude figure of a Greek athlete carrying a garment, a 
branch of victory and his prize in red. . 


381—Erruscan OINOCHOE 


Black ground with decoration in white and brown. 


382—ErrRuscan OINOCHOE 


Decoration in white and brown on a black ground. 


33—ErTruscaN OINOCHOE 


With one handle, decoration in red of female figure seated. 


34—Cyprian AMPHORA 


With two handles. Decoration of lines and geometrical patterns in red 
and brown on an unglazed ground. 


385—GRECIAN Pyxis 


With two handles and cover. Decoration in black on an unglazed terra- 
cotta ground. 


36—EtTruscan Hypria 
With three handles. Decoration of female figure seated and other de- 
signs in red on a black ground. 


37—Erruscan VAsE 


With top handle. Nude youth, draped female and scrolls in reserve on a 


black ground. 


388—Erruscan AMPHORA 


Two handles. Decoration of youth and maiden beside incense burner 
and two youths in reserve on a black ground. 


89—Grecian Hypria 


With three handles; found near Alexandria. Dolphin, linear and scroll 
decoration in brown on terra-cotta. 


40—Erruscan AMPHORA 
With two handles. Brilliant black ground, with two youths in red. 


} 


41—Errvuscan Lexytuos 


Procession of armed warriors and a horse in black on an unglazed terra- 
cotta ground. 


42—Grecian Hypria 
With three handles. Found near Alexandria, black decoration on terra- 
cotta ground. 


43—E:rruscan AMPHORA 


With two handles. Decoration of male and female figures in red and 


white on a black ground. 


44—Firruscan Hypria 
With three handles. Black ground with female figures and other decora- 


tions in red:and white. 


45—Aputian Hypria 
With three handles. Grecian athletes and female and scroll designs in 


red on a black ground. 


46 


ETRUSCAN PELIKE 


With two handles. Seven figures and scroll designs in reserve in red on 


a black ground. 


ORIENTAL PORCELAINS 


4°7—Patrr Otp Imari Tea Jars 


Quadrilateral shape, floral decoration in blue, red and gilded. Silver 
caps. 


48—Onp CHINESE Biuure anp Wutre Bown. 


Dragons pursuing the sacred pearl and other designs in underglaze blue. 


49—Oxp CuInEsE CELADON VASE 


Tree peonies carved in relief in the paste under a pellucid sea-green 
glaze. 


50—Oxp CuHinesE CiuB-SHAPED VASE 


Coral red glaze, with chrysanthemum amid leafy scrolls. Painted in 
brilliant enamel colors. 


51—QuapriILaTERAL VASE 


Old Chinese, enamelled with a crackled glaze. 


52—Oup CuinesE BuvuE anp Wuitr VASE 


Bottle-shaped, decorated in underglaze blue, with figure of poets in 
garden, palmettes and symbols. 


53—Patrr Buur ann Wutire HawtTHorn Jars 


Clusters of prunus blossoms in white reserve on a cracked ice ground and 
the ‘“ Hundred Antiques ” in two white panels. Have carved teakwood 
covers. 


54—CoverEeD Bown 


Chinese blue and white porcelain; panel decoration of the flowers of the 
four seasons painted in brilliant underglaze blue. 


55—Larecrt Biure anp Wuiret Bown 


With metal handles; old Chinese porcelain; decoration of the “ Hundred 


$93 


Antiques ” in two shades of underglaze blue. 
56—Larcrt Bow. 


Old Chinese porcelain, beautifully decorated in brilliant enamel colors of 
famille verte. Tree peonies, plum in blossom, rock and birds. 


57—LarcE Ovirorm Jar 


Old Chinese porcelain of dense texture invested with an opaque celadon 
glaze applied over a network of brown crackles. 


-58—LarcEe GALLIPoT 


Chinese blue and white porcelain of dense texture; decoration in under- 
glaze blue, with five-clawed dragons amid fire emblems pursuing the sacred 
pearl. Six-character mark of Wan-li round shoulder. 


59—Buive anp Wuire HawrHorn Breaker 
Old Chinese porcelain of thin white texture; branches of prunus blossoms 
in white reserve on an opaque-blue ground marked to resemble the crack- 
ing of ice. 


60—Buive anv Wuire Tempe Jar 
Old Chinese porcelain. Branches of prunus blossoms in white reserve on 
an opaque-blue ground marked with darker lines to imitate the crack- 
ing of ice. 


61—Parr Buure anp Wuirtrt BrEAKERS 


Hard paste of the K’ang-hsi period. Decoration of peonies and leafy 
scrolls painted in brilliant underglaze blue. 


62—Larce Buve anp WuirE Jar 
Dense porcelain of the Chien-lung period. Decorated in brilliant under- 
glaze blue with a wide band of lotus flowers and leafy scrolls and bor- 
ders of wave designs. On the shoulder two handles of butterfly and ring 


design. 


63—Larce Brive anv Wuire Coverep Jar 
Dense hard paste of the K’ang-hsi period. Decorated in brilliant under- 
glaze blue with floral sprays, bands of sceptre heads and gadroons of lotus 


scrolls. 


64—Larce Jar with Cover 
Dense porcelain of the K’ang-hsi period. Invested with a powder-blue 
glaze, over which is an elaborate decoration in gilding of butterflies, blos- 


soms and other designs. 


65—Pair Crorsonnét Enamet Tempie Jars 
Of the Ch’ien-lung period. Archaic designs in brilliant enamels on a tur- 


quoise-blue ground; gilded brass ornaments and openwork covers. 


66—Larcre Brive ano Wuitre Fisnp Bown 


Japanese porcelain of dense texture. Decorated in brilliant underglaze 
blue, tree peonies, magnolia and other flowering plants. On the inner sur-— 


face ** The Hundred Storks.” 


BRONZES, MARBLES AND MISCELLANEOUS OBJECTS 


67—Bronze StratuettreE—* THe Peasant,” spy Bastien-LEPAcE 


N.B.—This was the first and only attempt of this celebrated painter at 
modelling. 


68—AMETHYSTINE VASE 


Urn shape; on base of brass having rams’ heads on sides and surmounted 


by brass top. 


69—Terrra-cottra Bust 


* Dancing Nymph,” by Carpeau. 


BRONZES BY BARYE—PROOF COPIES 


T0O—SrEatTED Hare 
Patine antique. 
Length, 2 inches; height, 3, inches. 
%1—Restinc Fawn 
Patine medaille. Green marble base. 
Length, 31% inches; height, 14% inches. 
72—STanDING DEER 
Patine medaille. White marble base. 
Length, 34%, inches; height, 4 inches. 
“8—STanpInc CAMEL 
Patine medaille. Green marble base. 
Length, 4 inches; height, 41% inches. 
“4—Runnine Doe 
Patine medaille. Green marble base. 
Length, 6% inches; height, 4 inches. 
%5—Sirtine Lion 


Patine medaille. 
Length, 5%, inches; height, 7 inches. 


%6—Arr Rivinc Gnu 


Patine medaille. Green marble base. 
Length, 10 inches; height, 914, inches. 


T7—WrestTunc Bears 


Patine medaille. 
Length, 6° inches; height, 814 inches. 


MARBLE BY RODIN 


48—Marsite Statve—* Le Marin,” sy Avucustre Ropin 


Pedestal of Ambonia wood for the above from an original design and 
manufactured by Cottier & Co. 


ANTIQUE AND MODERN FABRICS—EMBROIDERIES, BROCADES, 
| VELVETS, ETC. 


79—TwurkisH EmBromery 


Red silk ground with gold and variegated colors in design. 


80—ITratian CHASUBLE 


(Portion.) Net ground with variegated colored silks. 
coy g 


81—CuinesE Buve VELVET SKIRT 


Butterflies, peony and pomegranate design. Ch’ien-lung, 1736-1795. 


82—TurkisH EMBROIDERED PANEL 


Gray silk ground with gold thread design. 


83—CurneseE VELVET SKIRT 
Orange red. Peony, butterfly and pomegranate design. Brocaded gal- 


loon trimming. 


84—TwvrkisH EmproiperedD PANEL 


Red silk ground with design in gold thread. 


85—AntievE IratiaAn BrocapEe 


Red silk ground with design in gold and silver. 


86—ANTIQUE CHASUBLE 


Of purple velvet. Silver spangle design all over body. 


87—GENOESE CuT VELVET 


Palm design in green on gold ground. 


88—ANTIQUE SPANISH EMBROIDERED SKIRT 


Green ground, with design in yellow. 


89—AntTiavE IraLIan CusHIon Cover 


Red velvet appliqué on cloth-of-gold. 


90—CuineEse EMBROIDERED SILK SKIRT 
Plum brown, with peony, birds, butterfly design. Chia-Ch’ing, 1796- 
1820. 


91—T apie Cover 


Olive-green plush trimmed with tinsel galloon and lined. 


92—Inp1an EMBROIDERY 


Yellow silk ground, with mirror appliqués and silk needlework. 


93—CHINESE SILK Rose 


Golden brown, with medallions of dragons brocaded in body. Chia- 
Ch’ing, 1796-1820. 


94—TurkIsH EMBROIDERY 


Light blue silk ground, with designs in red and cream. 


95—TurkisH EMBROIDERY 


Orange-red ground, with appliqué embroidery ; golden-colored border. 


96—ANTIQUE SPANISH APPLIQUE 


Green and gold design and floral embroidery. 


97—Sic1n1an EMBROIDERED SitK PAaneL 


Sprig design on body; brown net border with variegated colored design. 


98—CuinesE VELVET ROBE 
Orange-red on yellow ground, with peony and butterfly design. Chia- 
Ch’ing, 1796-1820. 


99—CuHInEseE SILK EMBROIDERY 


Dull green ground, with grotesque gold silk design. 


100—Parr or Louis XVI. Brocaprt Curtains 


Pale yellow silk, with small bouquets of roses; festoon border of pink. 


101—Ricu Rep Simx VeEtvet Coat 


Trimmed with gold galloon. 


102—ANTIQUE JAPANESE EMBROIDERY 


Blue silk ground, with figures and flowers in yellow and gold. 


103—Curinese Rep Vetvet Coat 


Peony, pomegranate and symbol design. Ch’ien-lung, 1736-1795. 


104—EmBromwErRED TasLe Cover 
Style of Louis XVI. Light pink silk ground, with flowers and birds. 
Trimmed with, silk tassel edging and lined with flannel. 


105—EMBROIDERED AND APPLIQUE PANEL 
Olive-brown velveteen, with satin and silk design worked in body. Original 
design and manufacture of Cottier & Company. 


106—Emepromerep Taste Cover 
Style of Louis XVI. Cream silk ground, with flowers, ete. Trimmed 
with fringe and lined with pink satin. 


107—I'wo Pairs Frencu Sirk Currains 


In gold color, with brocaded silk borders in variegated colors. 


108—Antiave CHiInes—E EmpromEereD Hancine 
Dark blue, with gilt and variegated colors. Lined with yellow figured 
silk. 


109—Parr Antieve Spanish Arprieuk Hancines 


Silver and gold, trimmed with tinsel fringe. 


110—Anrtiave Iratian Renaissance Hancine 
Red and gold appliqué, with vases filled with flowers and baskets of fruit 


in silk embroidery. 


111—Rare FLORENTINE HaAncine 
A specimen of early sixteenth century. Large shield with coat-of-arms 
surmounted by a ducal crown. Border of bold scrolls and leaves in cream, 


green and blue on royal red ground. 


112—EMBROIDERED CHASUBLE 
Coral velvet. Orphreys and wide border of small diaper pattern em- 
broidered in silver. Background of small flower sprays, also in silver. 
Italian Renaissance. 


1183—EmBROIDERED CHASUBLE 


Elaborately embroidered in flower and scroll patterns in gold on ground 
of ivory-white silk. Italian. 


114—CuasuBLE 


Rich green velvet. Orphreys of Italian Renaissance embroidery and ap- 
pliqué in colors on red ground. Italian Renaissance. 


115—CwHasuBLE 


Green silk shot with gold. Floral pattern in pale ecru. Italian. 


116—CuasuBLe 
Green silk. Brocaded in vine pattern in yellow shot with silver. Orphreys 
of Italian Renaissance embroidery in colors on red. Italian. 


117—CuasuBLE 
Rich red velvet. Orphreys of Italian Renaissance embroidered on green 
velvet. Italian Renaissance. 


118—CHASUBLE 
Ground of green silk, covered with flower patterns embroidered in ecru, 


gold and tan. Italian. 


119—CwasvuBLE 
Rich Italian brocade, design of peacocks, fruits and flowers, in gold and 
colors on field of red. Orphreys of red velvet with sacred symbols em- 
broidered in gold. Italian Renaissance. 


120—CHASUBLE 


Green damask orphreys of fine green velvet. Italian. 


121—Datmatic 
Rich green velvet. Ornamentation of waved lines in old gold velvet and 
in green. Further enriched by trimmings of brocade in red and gold. 


Italian Renaissance. 


122—Datmatic VELVET 


Small diaper pattern, citron-colored pile on ground of very dull pink. 
Italian. 


123—Veuvet DatmatTic 


Pale old rose velvet, with panels of green velvet and narrow strips of 
embroidery showing vine pattern in gold on green. Italian Renaissance. 


124—Green VeEtvet Dress 


Rich green velvet, with trimmings of galloons in gold and colors. Italian. 


125—Larce EmproipErReD HAaNncING 


Elaborate floral and scroll designs embroidered in silver on hackground 
of pale blue, in solid needlework. Indo-Portuguese. 
Length, 10 feet 2 inches; width, 7 feet 8 inches. 


126—ManiLovuxka 
Appliqué and embroidered in elaborate birds, flower and scroll designs in 
cloths and silks of various colors. Seventeenth century. Persian. 
Length, 6 feet 7 inches; width, 4 feet 4 inches. 


127—Brocave Dress 
Diaper pattern of palm leaves and flowers in gold on ground of coral 
pink. Indo-Persian. 


128—Vetvetr Dress 


Design of stripes in rose color and white. 


129—Larce Pane or VELVET 
Small floral and leaf patterns on ground of dark brown. Wide and nar- 


row borders in similar colors. Bokhara. 
Length, 5 feet 5 inches; width, 3 feet 9 inches. 


130—Dovsie Panev or VELVET 
Centre of mahogany red with wide borders of wave patterns in various 


colors. Bokhara. 
Length of each, 2 feet 10 inches; width of each, 2 feet 3 inches. 


131—Larce Panet or VELVET 
Centre shows stripes of old gold and brown, with small wave patterns in 
white. Borders of wave patterns in blue, yellow, red and white. Bokhara. 
Length, 5 feet 8 inches; width, 3 feet 11 inches. 


1382—Smatu Pane or VELVET 


Centre of purplish red. Borders of arabesque and floral patterns in 


various colors. Bokhara. 
Length, 3 feet 5 inches; width, 2 feet. 


183—Smatt Panet or VELVET 


Centre panel of narrow stripes in delicate green and ecru. Wide borders 
of wave and arabesque patterns in soft colors. Bokhara. 


Length, 2 feet 9 inches; width, 1 foot 8 inches. 


134—SmatuL Panett or VELVET 


Centre of emerald green. Borders of arabesque and floral patterns in 


colors. Bokhara. : 
Length, 2 feet 8 inches; width, 2 feet. 


1385—Larcr Panew or VELVET 


Centre shows large diaper patterns and arabesques in coral pink, dark 
blue and white on ground of mahogany red. Borders in similar colors. 


Bokhara. 
Length, 6 feet 6 inches; width, 3 feet 4 inches. 


136—Larce Panett or VELVET 


Centre of emerald green. Borders of arabesque and floral patterns in 


colors. Bokhara. 
Length, 6 feet 4 inches; width, 3 feet 6 inches. 


137—PaneEL oF VENETIAN VELVET 
Design of berries and flowers in red and green on ground of ecru. Bor- 
der on all sides of similar design. Bound with galloon. 


Length, 3 feet 7 inches; width, 1 foot 11 inches. 


138—PaneL or VENETIAN VELVET 
In the centre a large medallion of flowers and fruits in soft green and tan 
on ground of pale ecru. Bouquets of flowers in corners. Border of vine 


pattern in similar colors. 
Length, 3 feet 9 inches; width, 1 foot 11 inches. 


189—PaneEu or VENETIAN VELVET 
Centre shows large medallion of flowers in mahogany red on ground of 
deep ecru. Numerous borders of vine and leaf patterns in similar colors 
with violet. 
Length, 3 feet; width, 1 foot 10 inches. 


ART FURNITURE 


INCLUDING 


PIANOS, CABINETS, CHAIRS, TABLES, ETC. 


Norr.—The following fine pieces of furniture are all of original design 
and the manufacture of Cottier & Co. Each piece is made and carved by hand 


and beautifully finished. 


The comino wood used in several of the pieces is from South America, and 


is extinct and exclusively owned by Cottier & Company. 


SECOND AFTERNOON’S SALE 
FRIDAY, MARCH 12rx, 1909 
AT THE AMERICAN ART GALLERIES 


BEGINNING PROMPTLY AT 3 O’CLOCK 
140—Greekx CHAIR 


Ebonized wood. Seat covered in blue silk damask. 


141—Two Reception CuHairs 


In rosewood. Delicate workmanship. Seats covered in blue silk damask. 


142—Dintnc-room ARM-CHAIR 


In mahogany. Wooden back. Seat covered in velours. 


143—Dininc-room ARM-CHAIR 


Similar to preceding, but with upholstered panel back. 


144—Two Drininc-room ARM-CHAIRS 


In oak. Seats and backs covered in red velours. 


145—Larce Dininc-room ARM-CHAIR 


In oak. Seat and back covered in tapestry. 


146—Drininc-room ARM-CHAIR 


In oak. Seat covered in tapestry. 


147—Two Dintnc-room CHairs 


In oak. Seats covered in tapestry. 


148—Drninc-room CHAIR 


In mahogany. Seat covered in tapestry. 


149—Dininc-room ARM-CHAIR 


In mahogany. Seat and back ¢overed in tapestry. 


150—Smatut Centre TaBLe 


Clover-leaf design in stained maple, with inlay of comino wood. 


151—ReceptTion Cuair 
Ebonized wood. Seat covered in red and gold damask. 


152—Two Recertion Carrs 
Ebonized wood. Unique design. Spindle back. Seat covered in silk 
damask. 


153—PepestaL TABLE 
Mahogany and ebony, with shelf supported by four fluted columns. 


154—ReceEertTion CHAIR 


Ebonized wood. Circular seat. Seat covered in silk damask. 


155—Turee Reception Cuarrs 
Mahogany. Of unique design and delicate workmanship. Seats covered 
in figured silk damask. 


156—PEDESTAL 


Of hardwood embellished by inlay decoration. 
Height, 48 inches. 


157—Haneinc Watt CaBinEt 


Ebony. Bevelled glass sides and doors. 
Length, 261%, inches; height, 52 inches; depth, 1234 inches. 


15S—Turee RecertTion Cuarrs 
Ebonized wood, circular panels in backs, seats covered in yellow silk 


damask. 


159—ReEcEPpTIon CHAIR 


Rosewood. Similar to preceding. 


160—Haneine Watt Casinet 
Mahogany, enclosed by bevelled glass doors, small sectional division, use- 
ful for containing bric-a-brac, glass, ete. 


161-—Turee Recerrion CHarrs 


Ebonized wood, seats covered in yellow silk damask. 


162—RecerTion Cuarr 


Rosewood. Similar to preceding. 


163—Smatut Drawinc-room Centre Tasie 
Gilded and decorated; has small drawer. 


164—ReEceEptTion ARM-CHAIR 
Mahogany. Spindle back. Seat covered in silk damask. 


165—Receprion CHAIR 


Mahogany. Unique in design. Elaborate carved back. Seat covered in 
silk damask. 


166—Térre-\-rire 
Mahogany. Seat and back covered in pink and gold silk rep. 


167—Haneine Watt Casinet 
Ebony. With three cupboards, with bevelled glass doors and ends. Mir- 


rors in back. 
Length, 52 inches; height, 6314 inches; depth, 22%, inches. 


168—RecertTion CHarr 
Mahogany. With finely carved openwork back. Seat covered in blue silk 
and tinsel tapestry. 


169—Recerprion ARM-CHAIR 


To match preceding. 


170—Lisrary ARrM-cHAIR 
Mahogany, with hand carving. Unique in design. Seat covered in 


damask. 


171—Liprary ARM-CHAIR 


Mahogany. Seat covered in damask. 


172—Two Reception Cuairs 
Mahogany. Unique in design. Seats covered in silk damask. 


173—Dinine Cuarr 


Hepplewhite design. Mahogany. Seat covered in silk damask. 


174—Bric-A-Brac CABINET 


Satinwood. Upper part with hand-painted doors and side shelf below 
connecting legs, which are encased in brass at ends. 


175—Urnotsterep Tus CHa 


Covered in blue and tinsel tapestry, and trimmed with tinsel edging. 
Useful for library or reception-room. 


176—ARrmM-cCHAIR 


Mahogany. Unique in design. Seat covered in brown and ecru velvet. 
Suitable for library or living room. 


177—Haneinc Watt CaBInet 


Enclosed by bevelled glass doors, small sectional divisions. Useful for 
containing bric-a-brac, glass, etc. ; 


178—ReEcEPTION CHAIR 


Mahogany. Beautifully carved and unique in lines. Seat covered in blue 


silk damask. 


179—ReEcEPrTion ARM-CHAIR 


Mahogany. With carved fretwork back and side rails. Seat covered with 
brown and cream cut velours. 


180—Unieve OccasionaL CHAIR 


Mahogany, with dish-out wooden back and legs inlaid with tortoise shell 
and silver. Seat covered with red-brown silk and tinsel velvet. 


181—Din1nc-room ARrM-CHAIR 


Mahogany. Seat and back covered in tapestry. 


182—REcEPTION-ROOM ARM-CHAIR 


Unique in design. Hand-carved woodwork gilded and lacquered. Seat 
and back covered with silk velours. 


183—ReEcEPTION-RooM ARM-CHAIR 


Unique in design. Hand-carved woodwork gilded and lacquered. Seat 
and back covered with green and gold silk Allini velvet. 


184—Eneuisu Oak Liprary ArM-CHAIR 


Unique in design. Finely carved. Seat covered in hand-tooled illu- 
minated leather. 


185—Two Haut Cuarrs 


Mahogany. Elaborate. Hand-carved back of fretwork. Unique in de- 
sign. With seats covered with brown-red mohair plush. 


186—Drawinc-room TasLe 


Golden ebony wood. With turned legs and spindle rails. Circular top. 
Height, 30 inches; diameter, 32 inches. 


187—Liprary Centre Taste 


Mahogany. Unique in design. With hand-carved legs and lower shelf. 


Height, 28 inches; diameter, 38 inches. 


188—Drawinc-room Fire Screen 


Finely carved and hand painted. The hinging panel of fine old Chinese 
embroidery representing the washing of the sacred white elephant. The 
screen is of unique design and a fine specimen of the workmanship of 
Cottier & Company. 


189—PEpDESTAL 


Chinese design. Made in ebony. ‘Top covered with plush and deep 
Chinese fringe. 


190—Haneince Wau CaBINET 


Mahogany, with cupboards and shelves and turned balustrades. 


191—Haneinc Watt CaBINET 


Mahogany, with cupboard and shelves and turned balustrades. 


192—Firre Screen 


Mahogany. Finely carved. Single revolving panel in centre of repoussé 
relief work. Metalled and lacquered. 


193—Bric-A-Brac CABINET 
Mahogany. Unique design, with cupboards and niches for containing 
objects of art, glass and porcelains. 


194—Smatu KipneEy-sHAPED TABLE 


Hardwood and embellished by inlay decoration. Lower shelf with turned ~ 
balustrade. Unique in design. 
Length, 32 inches; height, 281, inches. 
195—Fire ScreEn 


Satinwood. Carved and decorated revolving centre. Panel of Chinese 
embroidery. 


196—Watt Mirror 
Satinwood. Decorated with hand painting and carved top. 


197—SETTEE 
Finely carved and gilded seat, and sides covered in tinsel-brocaded tap- 


estry. 
Length inside, 35 inches; length over all, 54 inches. 


198—Haneinc Wau CABINET 


Mahogany. For bric-a-brac, etc. Decorated after the Japanese. Unique 
in design. 


199—Larcr RECEPTION-ROOM OTTOMAN 


Framework and legs of gilded handwork. Upholstered and covered with 
light blue and gold cut velours. 


200—Srx Dinitnc-room CHAIRS 


Walnut.. Queen Anne design. Very perfect reproduction, and finely 
carved seats covered in embossed blue plush. 


201—Dintine ARM-CHAIR 


As preceding. 


202—Larce Liprary ARM-CHAIR 


Carved mahogany frame. Sheraton design. Seat covered with red- 
brown silk and tinsel velours. 


203—Larce Liprary ARM-CHAIR 


Carved mahogany framework, with openwork panel in back. Seat cov- 
ered in red-brown silk and tinsel velours. 


204—Larcr Liprary ARM-CHAIR 


Similar to preceding. 


205—Larcre Liprary ArM-cHAIR 
Carved mahogany framework, with openwork panel in back, and dished- 
out panel seat. 


206—Larce Liprary ARM-CHAIR 


Similar to preceding. 


207—Dininc-room Cuan 
Mahogany. Unique design and skilfully carved. Seat covered in green 
mohair plush. 


208—Hicu-spack Arm Hatrt Cuarr 
Oak. Skilfully carved; seat covered in blue and gold silk velvet. 


209—Hicu-sack Arm Hart Cuair 


Similar to preceding. 


210—Two UpuHotstErED ARM-CHAIRS 
Woodwork carved and gilded. Covered in fine green velours and trimmed 


with gimp and fringe. 


211—SETTEE 
To match preceding. 


212—Larce Haneinc Wat CaBInet 
Chinese design. Golden ebony. Finely carved fretwood and ebony. 


213—Larcre UrnorstereD Earsipe ARM-CHAIR 
Reproduced from the one in Hampton Court. Legs finely carved. Up- 
holstery covered in figured red mohair plush. 


214—REcEPTION-ROOM SOFA 
Mahogany. Upholstered back and seat covered in terra-cotta and cream 


damask. 


215—EscriToIrE 
Mahogany. Elaborately carved and complete, with drawers and compart- 
ments; falling writing flap in centre; with pigeon-holes and paper draw- 


ers, etc. 
Length, 54 inches; height, 58 inches; depth, 21 inches. 


216—EscriToIrRE 


Similar to preceding. 


817—EncuisH EarsipE Sora 


Upholstered and covered in English red damask, embellished by gimps 
and fringes, with antique Italian embroidery panel; loose cushion. 
Length, 60 inches; height, 42 inches. 


2918—Two OccasionaL CuHairs TO Matcu PrEcEDING 


Hand-carved walnut, twisted arms and legs. Seats covered with English 
red damask, backs covered with antique Italian embroidery and trimmed 
with gimps and fringes. 


219—OccasionaL CHAIR 


Hand-carved walnut, twisted arms and legs. Seat and back covered with 
English green damask trimmed with gimp and fringe. 


220—CuEstT 


Carved and gilded wood, with hand-painted decorated panels. By F. Vin- 


cent Hart. 
Length, 54 inches; height, 28 inches; depth, 21 inches. 


221—Dn1nc-room CHAIR 


Mahogany. Unique design and finely carved. Seat covered in morocco 
leather. 


992) 1n1ncG-RooMm CHAIR 


Similar to preceding. 


2923—D1n1nc-rRooM CHAIR 


Similar to preceding. 


224—SETTEE 
Mahogany. Finely carved. Unique in design, with heart-shaped panels 
in back; seats and back covered in very fine gold and green silk Scutari 
velvet. 


225—OccasionaL REcEPTION CHarR 
Hand carved and gilded woodwork, with delicate painted decoration. 
Unique in design with egg-shaped back, and seat covered in specially 
made silk damask. 


226—TETE-A-TETE 
Mahogany. Finely carved. Unique in design. Seat and back covered 
with specially made silk damask. 


227—Reavine CHair 


Mahogany. Very fine model. Carved fluted legs and frame. Covered in 
blue-gray and tinsel brocart. 


228—Saton ARM-CHAIR 


Carved and gilded wood. Covered in very fine brocaded silk tapestry 
trimmed with gimps and fringes. 


229—CHIFFONIER 


Green enamelled hardwood, with painted Wedgwood decorations. Lower 
part with eight drawers with unique gold-plated handles; upper part 
with niche and two compartments. 


230—CuatsE LONGUE 


Frame in maple wood, with hand-painted decoration.. Covered in cream- 
colored silk brocade. 


231—REcEPTION-ROOM CHAIR 


Mahogany. Hepplewhite in design, with hand-painted panel in back. 
Seat covered in silk damask. 


232—Corner Liprary CHAIR 
Mahogany. Unique in design. Carved and open fretwork in back and 
rails. Seat covered in red-brown silk and tinsel velvet. 
233—RECEPTION-ROOM CHAIR 


Unique in design, with painted decoration. Covered with velours. 


234—TETE-A-TETE 
Comino wood. Unique in design, and finely decorated with hand-paint- 
ing. Seats covered with antique French brocade. Very beautiful model. 


235—W arDROBE 
Dark oak, with finely carved figure panels in doors. Interior fitted with 


sliding trays. 
Height, 63 inches; length, 56 inches ; depth, 22 inches. 


2936—RECEPTION-ROOM SETTEE 
Comino wood. Low back and arms. Seat covered in salmon-colored_ 


brocade. 


237—Bnic-A-Brac CABINET 
Upper part of gilded and lacquered wood, with glass doors and sides on 
shelves. T'wo drawers below, supported on a base of carved columns and 
brackets of golden ebony. The gilded work delicately decorated by hand 
painting. 
Height, 65 inches; width, 47 inches. 
238—Baxny Granp Piano anp BENCH 
Case of comino wood and decorated by hand painting on exterior and 
interior, and supported by columns of carved and gilded golden ebony. 
The instrument by Chickering & Sons. Bench to correspond. 


239—Dressinc TaBLe 
Comino wood. Sheraton design. Beautifully decorated with figures and 
foliated design by F. Vincent Hart. Swinging heart-shaped mirror. Two 
upper compartments. ‘Three drawers, with jewel box supported between 
legs. This piece is one of the special productions of Cottier & Co., and is 
based on the existing example in South Kensington Museum. 


240—SipEBoOARD 
Comino wood, with panel of marqueterie in back panel of upper part. 
Carved legs with claw feet. Two doors enclosing lower section. Three 
drawers above. Unique design. 


241—CaBINET 
Comino wood and golden ebony. ‘The upper part with marqueterie work, 
with three hand-painted decorative figure panels by F. Vincent Hart, 
representing “ Truth silencing Slander,” ‘“ Knowledge” and ‘ Cruelty 
disarmed by Humanity.” The base of the cabinet is made of golden 
ebony with shelves and trusses. 


242—SIDEBOARD 
Carved walnut, with figure panels in lower doors and bevelled glass doors 
in upper part. 
Length, 63 inches; height, 1011, inches; depth, 21 inches. 
243—SIDEBOARD 
Ebonized and decorated by hand. Two bevelled glass doors, with mir- 
rors in back. 
Length, 51 inches; height, 84 inches; depth, 22 inches. 


244 SIpEBOARD 
Ebonized and decorated by hand. Finely carved. 
Length, 57 inches; height, 121 inches; depth, 21 inches. 


245—SIDEBOARD 
Ebonized and decorated by hand. Figures in panels of lower doors. 
Bevelled glass doors in upper part. Three bevelled mirrors in back. 


Length, 74 inches; height, 95 inches; depth, 21 inches. 


246—S1pEBOARD 
Walnut and mahogany. 
Length, 91 inches; height, 94 inches; depth, 24 inches 
24°7—SIpEBOARD | | 
Ebony. Richly decorated on gold ground. Lower part complete with 
cupboards and drawers. Upper part with compartments and bric-a-brac 
cabinets. Bevelled glass doors. This piece is remarkable for its unusual 
workmanship. 
Length, 91 inches; height, 141 inches; depth, 21 inches. 
248—CaBINET 
Ebony. Decorated in gold and hand-painted figures. 
Length, 52 inches; height, 86 inches; depth, 21 inches. 


249—Corner CaBINET 
Mahogany. ‘Two doors on upper part and two on lower part. Gilt and 
hand-painted bevelled mirrors in back. 
Length, 34 inches; height, 83 inches; depth, 24 inches. 


250—SIDEBOARD 
Ebony. Finely carved, with commodious compartments and drawers. 
Upper part with shelves and bevelled glass mirrors. Very fine design. 
Length, 95 inches; height, 96 inches; depth, 29 inches. 


251—Bric-A-prac CABINET 
Satin and comino woods, decorated with hand painting. Lower part com- 
plete with compartment and shelves. 
Length, 43 inches; height, 62 inches; depth, 18 inches. 


252—Hautt StTanp 
Inlaid decoration on ebonized ground. Upper part supported by col- 
umns with carved capitals. Bevelled glass mirror. Lower part with 
drawer and table supported by skilfully carved lion trusses. 
Length, 57 inches; height, 108 inches; depth, 30 inches. 


253—GRaND CABINET 
Very large and completely inlaid with tortoise shell, mother-of-pearl 
and rare woods. Lower part comprises three compartments and three 
drawers. The upper part divided into three compartments with gilded 
interior. Central compartments with drawers and bric-a-brac niches. This 
piece is one of the special productions of Cottier & Co. 
Length, 95 inches; height, 88 inches; depth, 30 inches. 
254—Concert Granp Piano anp BENcH 
Case inlaid with tortoise shell, mother-of-pearl, mahogany and golden 
ebony. Interior painted a la Vernis Martin, showing landscape and 
figures playing musical instruments. On the exterior side of case are 
portraits of composers, each in a separate panel. On the border of the lid 
is the following legend: 
** Music can noble hints impart, engender fury, enkindle 
love; with unsuspected eloquence can move and manage all 
the man with secret art.” 


ANTIQUE FURNITURE 


255—ANTIQUE CABINET 
Spanish design. 'Two inlaid ivory doors enclosing the entire body. In- 


terior filled with drawers and upper compartments and galleries. Wal- 
nut woodwork. 


256—Two Larcrt ArM-cCHAIRS 


Reproduced from the Doge of Venice chairs. Walnut legs. Arms, seats 
and backs covered in purple and cut silk velours. 


257—CHAIR 


Antique. Italian design inlaid in ivory. 


258—Two AntieuE FLORENTINE Mirrors 


Very finely carved and gilded of the period. 


259—IraLIAN SEVENTEENTH CENTURY EsBony CABINET 


The upper part consists of numerous drawers and compartments inlaid 
with ivory, illustrating the story of the Ark. This is enclosed by two 
doors with beautifully carved figures and ornamentation on interior and 
exterior sides. The base has six (6) twisted and elaborately carved 
columns in the front and six (6) rectangular supports, likewise carved, in 
the back part. These all rest on a plain shelf supported by four (4) 
turned feet. This cabinet is similar to the pair in the Palace of Fon- 
tainebleau. 

Height, 821, inches; width, 73 inches; depth, 23 inches. 


ANTIQUE TAPESTRIES 


260—Earty SEVENTEENTH CENTURY FLEmisH Tapestry 
Centre of verdure, figures and columns. Sides with warriors on pedestals. 
Top and bottom with flowers and fruits. 
Height, 114 inches; width, 70 inches. 


261—Eariy SEVENTEENTH CENTURY FLemisH Tapestry 
Subject is “ Sale of Joseph by his Brethren.” <A border of fruits, flowers 
and leaves (16 inches wide) surrounds the panel. 
Height, 120 inches; width, 153 inches. 


RUGS 


262—AntTievE GuiorpES Rue 


Old-rose ground with small medallion in green, border of rose-red and old 
blue and ivory in angular design. 
7 feet by 3 feet 8 inches. 


263—AnTIquE GuiorpES Rue 
Cream ground with red, blue, etc. Medallion with well covered pattern. 
6 feet 2 inches by 4 feet 3 inches. 
264—Oxp Acra Rue 


Turquoise-blue ground with palm design. Border of old red ground with 
ivory. 
8 feet by 4 feet. 
265—AntiquE Moorish NeEpLEworK Rue 
Buff ground, with spreading design in blue all over. Narrow light blue 
border. 
3 feet 2 inches by 6 feet. 
266—AntiavE Moorish NeepLework Rue 


Buff ground, with scroll designs in blue, yellow, cream, etc., all over. 
Border of light blue, with scroll designs as on body. 
3 feet by 6 feet 3 inches. 
267—Hamapan Rue 


Repeated medallions in camel’s hair and old red on buff ground. Border 
of interlaced patterns in camel’s hair, red and blue. 
16 feet 4 inches by 4 feet 2 inches. 


968—ANTIQUE SHIRVAN Rue 


Centre of dark blue, and wide border in cream with geometrical designs in 


various colors. 
17 feet 6 inches by 3 feet. 


269—Sarik SappLte Rue 
Centre of plain dark blue surrounded by dull red corner pieces having 


interlaced patterns all over. 
3 feet 5 inches by 2 feet 10 inches. 


270—AntiavE Bercamo Rue 
Ground of dull brown, with geometrical designs all over in ivory-blue 


and tan. Border of dark blue, with circular designs. 
4 feet 8 inches by 7 feet 8 inches. 


271—FerrecHan Rue 
Fine all-over Herati pattern in ivory, rose-red and sage-green on deep 


Persian-blue ground. Border of shield pattern on rose-red. 
13 feet 2 inches by 6 feet 3 inches. 


272—Kayren Rue 
Plate pattern medallion in sage-green, with graceful pendants on soft 


rose ground. Border of interlaced pattern in similar colors. 
9 feet 9 inches by 5 feet 2 inches. 


29738—Heriz Rue 


Body of various dark colors, with small all-over floral design. Border of 
several shades of blue with designs in different colors. 
14 feet 2 inches by 7 feet 2 inches. 


274—Antique Moorish NEEpLEwork Rue 
Light terra-cotta ground, with design in pale blue, etc.; all-over small 
medallion in olive-green. Border of various shades of blue, with light 


terra-cotta scroll. 
7 feet 4 inches by 4 feet 7 inches. 


975—AntiqauE Moorish NEEDLEWORK Ruc 


Ground of buff, with scroll design in green, etc. Border of dark blue, 


with buff scrolls. 
7 feet 7 inches by 4 feet 5 inches. 


276—Heriz Rue 


Centre of various dark tones, with pattern all over. Border of light blue 


and various designs all over. 
14 feet 10 inches by 9 feet 2 inches. 


277—SavaLan Rue 


Large Herati patterns in soft colors on ivory ground. Wide border of 


geometrical design in blue. Fine specimen. 
20 feet by 14 feet 3 inches. 


278—AnTIQuE CHINESE SILK Rue 
Light salmon ground, with faint design of animals, etc., all over. Bor- 


der with indistinct Greek fret design in gold. : 
9 feet by 12 feet. 


279—AntiaevE Moorish Neepteworx Rue 
Medallion of dark blue, with buff scroll work. Body of buff, with de- 


signs of birds, plants, etc. Border of dark blue, with fanciful designs in 


buff on blue ground. 
11 feet by 6 feet 4 inches. 


280—Oxp Acra Rue 
Medium all-over Persian floral design in turquoise-blue, gold, dull ivory 
and soft green on deep ruby-red ground. Floral border in centre color- 


ings, and design on blue-black ground. 
) 22 feet by 15 feet 2 inches. 


AMERICAN ART ASSOCIATION, 


MAnaGERS. 


THOMAS E. KIRBY, 


AUCTIONEER. 


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